Thursday, December 7 2006
These are the sort of flowers that bloom in the Sahara Desert: thumb pianos, distorted amps, muddy blues, and traditional chants.
Wednesday, December 6 2006
I believe to my soul that a blue man can sing the whites; that when the Big Music is rocked epically by a musician who feels/claims it as birthright, he or she will render ethno-cultural-lingual-racial barriers moot every damn time.
Tuesday, December 5 2006
How do the "artist" and "critic" reconcile each other's presence? How literally must one walk this way in order to talk that way?
Tuesday, November 28 2006
I'm getting giddy imagining Chuck Klosterman and Cam'ron having a two-minute bull session on the Who's return to relevance, or, better yet, figuring out a logical way to deal with Lil' Kim.
Wednesday, November 15 2006
In the second installment of an ongoing discussion of Bach and Bergman, Jenkins examines the communicative power of Bach's sarabande in Through a Glass Darkly.
Wednesday, November 8 2006
The enigmatic Danes in Mercyful Fate took such a straight-faced, deadly serious approach to its satanic themes that we were unsure whether it was all a big piss-take, or if they really meant it.
Monday, November 6 2006
Bringing the heat and creating refrains that still haunt brokenhearted romancers to this day, the Gap Band's potent mixture of party and pain was stunning.
Sunday, November 5 2006
That scene in Superman III, with the boy yelling words of encouragement to the struggling protagonist? That's how I feel when I think of Lauryn Hill.
Thursday, November 2 2006
Manifested in child-centered humor, the Beatles offered candy for the kids, tapped into the regressive escapist instincts of the arrested adolescents of the hippy subculture, and offered "seemingly" unthreatening fare for adults.
Wednesday, November 1 2006
The prolific trumpeter talks shirking musical definitions, finding challenging middle ground between 'fake jazz' and 'real musicianship', touring with They Might Be Giants, and turning down Jay-Z.
Thursday, October 12 2006
In Bergman's films, Bach's music functions to give access to a rarified atmosphere of revelation and emotional depth; it reveals something previously inaccessible within a character.
Wednesday, October 4 2006
For Hansi Kürsch, lead singer of Germany's Blind Guardian, there's no Justin Hawkins flash, no DragonForce pub chants, no hipster-pandering irony. If he's going to sing about faeries and orcs, he's going to do so and mean every damned outlandish lyric.
Sunday, October 1 2006
Huff fantasizes about wielding Diddy-like power to create a supergroup of underrated, under-the-radar female musicians. Danity Kane, eat your heart out.
Tuesday, September 26 2006
Rubenstein looks back at the release of a number of highly anticipated albums to contrast his opinions then and now. How much does personal expectation factor into our ultimate enjoyment of music?
Sunday, September 24 2006
It may seem quaint now, even after punk's scorched-earth campaign, to think of '50s rockabilly as a danger to Western Civilization, especially in light of pop culture's rampant envelope-pushing since then. But a closer inspection would make even the seen-it-all cynics take pause.
Sunday, September 10 2006
'But who determines the criteria by which one determines if something is well formed?' A debate of taste rages in a small field outside Maryland.
Wednesday, September 6 2006
Begrand hits the traveling metal show Sounds of the Underground for nine hours of mayhem, moshing, and merch. And though this town's put the kibosh on mosh, there's plenty of familiar sights and sounds, from Metallica wannabes to papier-mâché phalluses.
Thursday, August 24 2006
Fake and faceless, bubblegum pop in the late '60s and early '70s offended the prevailing rock myths of artistic creativity and rugged opposition to the powers-that-be.
Monday, August 14 2006
Hallelujah, it's raining blood! The Unholy Alliance Tour, a veritable distillation of the current state of contemporary metal on wheels, descends upon Western Canada and finally ends Begrand's 22-year wait to witness Slayer in the flesh.
Thursday, August 10 2006
For the second installment in an ongoing series profiling contemporary composers, Jenkins reports on Meredith Monk, whose compositions and performances integrate the personal aspects of the body in a manner wholly removed from the majority of current musical production.