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by Sloane Spencer

7 Apr 2015


The Bones of JR Jones are mostly a one-man band, although JR himself sometimes plays with a variety of setups. The band’s album Dark Was The Yearling was made possible by a happen-chance meeting at an empty gig.

The Bones of JR Jones are getting ready to tour the South and Midwest through the spring as a solo act, so catch a show when he’s in your town. With Country Fried Rock, this one-man band shares the realities of car camping to save money on tour and his bucket list trips.

by Scott Interrante

6 Apr 2015


For January and February’s round-ups, we focused on the shift towards serious and dramatic K-pop that’s occurred. After the rocky year the industry had in 2014, it was to be expected that so many artists were turning towards introspection. Well, it’s seemed to have worn off. March essentially returns to status quo for K-pop: bright colors, killer hooks, and tons of fun. But it was also a month dominated by female artists. Typically, I try to strike a balance in the round-ups between male and female artists, but March has seen an overwhelming amount of incredible music by female idols and groups, such that it seemed impossible to leave any of them out. Sorry boys, maybe next month.

by Jason Mendelsohn and Eric Klinger

3 Apr 2015


Mendelsohn: Over the past couple of years, we have had some in-depth conversations about music from the 1990s. It usually goes something like this; Me: “Hey, Klinger, remember this band?” You: “I hate the 1990s.” If you throw that little dialogue into a Boggle shaker you could possibly come up with my opinion about most bands from the 1960s. And yet, knowing what we know about each other, we still persist in testing the other’s limits. This week, I dug a little deeper, found something a little different. A power trio from the 1990s made up of a bassist, a saxophonist and a drummer—if you guessed Morphine and their 1993 record Cure for Pain, you would be right.

by Adrien Begrand

2 Apr 2015


The longer that the Finnish symphonic metal act Nightwish goes on, the more apparent it becomes that this isn’t so much a band than a vehicle for keyboardist/composer Tuomas Holopainen’s massive ego. This project is far too dysfunctional to be called a “band”: when your last four albums feature three different lead singers, you have a chemistry problem. Bigger, though, is Holopainen’s inability to work with a singer who is strong-willed. This is ironic because this pioneering band, which has always built its music around an operatic diva of a lead singer, can’t handle it when said diva becomes more assertive and wants to have a bigger say in the creative process. Holopainen, always garishly performing with his comically lavish “look at me” keyboard set-up and wearing a top hat, wants an employee not a frontwoman, and heaven help any woman who dares to think she’s the focal point. Beloved, groundbreaking singer Tarja Turunen starts to think for herself? Fired publicly via open letter. Her successor Anette Olzon dared to inconvenience the musicians by becoming pregnant—those poor boys—and spoke her mind, and was unceremoniously fired in the middle of a North American tour. Basically, if you’re a strong-willed woman, life in Nightwish is guaranteed to be pure hell.

by Scott Interrante

1 Apr 2015


Pop Unmuted is a podcast dedicated to in-depth discussion of pop music from varying critical and academic perspectives. On Episode 10, Scott Interrante and Kurt Trowbridge are joined by Melbourne, Australia-based pop podcaster Daniel Gregg and Music Theory PhD candidate Megan Lavengood to talk about legendary pop producer and songwriter Max Martin. We then delve deeper into his most recent hit, Ellie Goulding’s “Love Me Like You Do”, and close with a special Max Martin themed Unmuted Pop Songs segment.

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'Wanted' Is a Spaghetti Western That Will Leave You Wanting

// Short Ends and Leader

"The charisma of Giuliano Gemma and some stellar action sequences can't save this sub-par spaghetti western.

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