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by Evan Sawdey

21 May 2010


The Wave Pictures are what many would call a “hidden gem” of a band: a group who write amazing songs, quietly release brilliant albums heralded by the likes of Daniel Johnston and John Darnielle, but still have gone relatively unnoticed outside of (or, hell, even in) their native UK homeland. 

Yet, at the same time, frontman David Tattersall doesn’t seem much to care. Although many of the indie-rock templates are evident in his music—the swaying strings, the group singalongs—what makes the Wave Pictures different is its entirely homespun feel.  These songs sound like they were recorded in an open-air kitchen at time, on the porch another. The Wave Pictures pride themselves in not being studio fetishists, letting the songs speak for themselves, and, as such, each album from the Wave Pictures has its own lo-fi charm, a sweet naiveté that almost makes you forget just how well-composed the tracks in question are.

As such, Tattersall is no doubt excited that his band’s two most recent albums—Instant Coffee Baby and If You Leave It Alone—are finally getting wide-spread distribution in America (a first for the band), coupled together in a glorious double-disc package that shows just how fun, crazed, and downright enjoyable the Wave Pictures’ music truly is.  o celebrate, Tattersall took on PopMatters’ 20 Questions, and reveals an out-and-out love of D.H. Lawrence and Bukowski, an aversion towards sci-fi, and reveals which Lou Reed album is truly the greatest of all time ...

by Sean McCarthy

19 May 2010


It was good while it lasted. Maybe too good.

Before Lala, if you read a rave album review of a band you’ve never listened to, you were pretty much at the mercy of the critic. In a pre-Lala age, the only widely-accepted way you could listen to a buzz-worthy album was visit a site like LastFM or Pandora, type in the band’s name and cross your fingers that a song from the album would come up – and hope that track would not be one of those “30 second sampler” tracks. Even as beneficial as these sites are, if you clicked on a band’s “radio station,” you would probably hear one song from the band, then several songs by similar bands. As a result, listeners wind up waiting up to an hour before hearing another track by the band. So, in short, that left you waiting by the radio for a song to come on, just like how your parents used to listen to music.

by AJ Ramirez

18 May 2010


Despite being a cult band with little commercial impact even to this day, Joy Division has turned out to be a seminal act that has influenced a huge swath of musicians. The perfect demonstration of this point: if you are unfamiliar with the sound of Joy Division, look no further than the hordes of brooding, baritone-voiced post-punk revivalists that have sprung up in the last decade to rectify that. The music press has had a field day plastering these groups with the dreaded “rip-off” tag, whether the accusations are merited or not. Given the negative tone these comparisons are often couched in, it’s unsurprising that the modern bands most often likened to the Joy Division, Interpol and Editors, often spend their interviews refuting assertions that they are heavily influenced by the British quartet. That’s certainly their prerogative, but it does result in odd comments like Editors bassist Russell Leetch saying he doesn’t understand the comparison because Joy Division didn’t sell a lot of records.

Even if one takes the neo-post-punkers at their word, there are still plenty of musicians to be found over the last three decades who will enthusiastically cite Joy Division as an inspiration and influence.  Among the most notable: Bloc Party, the Cure, Galaxie 500, Jane’s Addiction, John Frusciante, Moby, Pet Shop Boys, Radiohead, the Smashing Pumpkins, and U2. Few of these avowed disciples are outright stylistically comparable to Joy Division, but in varying quantities they have culled inspiration from Joy Division’s body of work, particularly its melodic basslines, its fractured guitar sounds, and late singer Ian Curtis’ world-weary existential lyrics.

by Sean McCarthy

17 May 2010


I spent Saturday night watching an all-ages Mastadon show. Little did I know, the concert turned out to be an inadvertent tribute to Ronnie James Dio.

If all Ronnie James Dio did was replace Ozzy Osbourne as the lead singer of Black Sabbath, memorials and tributes would still be pouring in via blogs, Twitters and Facebook updates. But Dio’s influence and yes, artistic credibility are reasons many-a-metal fan are mourning his loss.

by AJ Ramirez

17 May 2010


When news spread across the Internet on Saturday that legendary heavy metal singer Ronnie James Dio had succumbed to his battle with stomach cancer, I scoured every news website I could think, hoping to find solid confirmation of the event. I was not about to take the rumors at face value without some fact-checking, especially given Dio is a musician whom I quite enjoy. Sure enough, metal news site Blabbermouth.net soon gained confirmation from Dio’s wife Wendy that the performer was in fact still alive, albeit not in the best of shape. Unfortunately, that respite turned out to be short-lived: when I turned on my computer on Sunday, Dio spouse was now his widow, sadly informing the world of the singer’s passing.

//Mixed media
//Blogs

A Crooked and Unseen Highway: lowercase - "She Takes Me"

// Sound Affects

"The newest Between the Grooves series tackles Lowercase's Kill the Lights, a great marriage of slowcore and post-punk: raw, angry, sullen, and very much alive almost 20 years later.

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