Latest Blog Posts

by Carrington Wythe

17 Jun 2015


Photo: Tatiana Suri

A 20-Year Pregnancy

Slow Dakota’s 2013 concept album Bürstner and the Baby destroyed my faith in the music world. Not in a “I’ve just listened to a Nickelback album” kind of way; no, in a slow way, over time, as I finally came to understand what the album is about.

by Casey Hardmeyer

11 Feb 2015


Combat Rock (1982) gave the Clash the commercial success in America that their rabid fanbase felt they deserved and critics had expected from them since their landmark record London Calling was universally heralded as the last great record of the ‘70s. (Depending on which side of the Atlantic you were on, it could have also been the first great record of the ‘80s.). Combat Rock’s first two singles, the funky new-wave boogie of “Rock the Casbah” and the sloppy power pop of “Should I Stay or Should I Go”, were performing exceptionally well, getting them plenty of airtime on MTV, a booking on Saturday Night Live, and a gig as the opening act on the Who’s 1982 comeback tour in arenas across the United States.

by Imran Khan

29 Oct 2013


Having been sentenced to musical purgatory has done wonders for Anna Domino’s mystique. A curio of ‘80s avant-pop, Domino forged ahead with her own special brand of slightly skewed pop, borrowing thoughtfully from various musical strains with jazz, rock, dance and folk being the primary influences she would use to bring form to her nearly amorphous art.

Domino’s songs were chronicles of lives at once contentious and enamoured, hanging in a curious balance of ambition and insecurity. Often, her dreamy passages recalled the amorously conflicted characters of Tama Janowitz novels; her songs were about women of the ‘80s who had found a new stretch of freedom to play around with as well as the growing awareness of not knowing what to do with all that newfound space. Much like the singer herself, who once made a living from making furniture out of found objects, her characters were victims of happenstance, often lost in the quirky, unusual situations afforded to them by city life.

by Imran Khan

2 Apr 2013


I first discovered Hannah Marcus’ music nearly ten years back. Hearing the opening strains of “Laos”, a track off her last album, Desert Farmers, I was nearly frozen in place. I wasn’t sure how or why, but something in the song called to me on a deeper, more private level than any other song I had heard. It seemed to invade such a personal space within me where I held deeper, undisclosed emotions and, yet, it wholly belonged in that space. After half an hour’s worth of hearing the song on repeat, it found a home in me and it has since never left.

What especially caught my attention was Marcus’ utterly strange and distressing way of turning a phrase, sounding out a word with an inflection so alien, it startled and seduced in equal measure. Her songs were like doors to other worlds that explored the ideas of situational love and lives configured by loss and abandonment. In Marcus’ songs, people struggle not to survive but to simply exist; survival and the pain endured is merely an afterthought. To be able to encapsulate the heady and emotional complexities of human drama in the span of a pop song is an achievement in itself. To pen an indelible melody to accompany her striking visionary world is leaps and bounds over the moons of many songwriters.

by Sean Murphy

20 Sep 2012


Today, with summer not quite over, I have some thoughts about the great lost single from 1967.

Lost in that it was never found. It was, in fact, left off Love’s masterpiece, Forever Changes, for a perfectly understandable reason: Arthur Lee felt it was too upbeat and would have marred the fragile balance between solemn and stirring that the eleven song cycle achieved.

//Mixed media
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'Five Came Back' Is an Unusual and Seminal Suspenser

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"This film feels like a template for subsequent multi-character airplane-disaster and crash projects, all the way down to Lost.

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