Wednesday, April 19 2006
How can you possibly know why you 'like' something you assume you like unless you confront that which you have dismissed? Jenkins discusses the importance of spending time with the music that immediately displeases us.
Sunday, April 16 2006
The least poetic of metal bands, Cannibal Corpse has gone to disturbing lengths to make gruesomeness its cold, calculated calling card.
Sunday, March 26 2006
Ellis spends four days in Austin looking for the finest exports from Tony Blair's Cool Britannia. In lieu of monkeys, magic numbers, and Moz, his search yields Casio-pop, California harmonies, and communal sing-along epics.
Monday, March 20 2006
Pink takes on the popular stupid girls, but only a little.
Wednesday, March 15 2006
Fearing an embarrassing failure on the scale of the Star Wars prequels, Begrand braves Queensryche's new sequel to its 20-year-old masterpiece Operation: Mindcrime.
Wednesday, March 1 2006
In the first of a series of contemporary composer profiles, Jenkins discusses Brian Ferneyhough, whose complex scores force performers to confront the boundaries of the possible.
Wednesday, February 22 2006
Why some 'girl groups' must be identified as such and others feel inclined to avoid feminist descriptors: Cober-Lake gauges the cumulative effect of gender-obsessed definitions.
Thursday, February 16 2006
The self-described 'Fujiyama Mama' of '50s rockabilly was a hard-headed, bare-knuckled antithesis to the era's prevailing gender expectations.
Tuesday, February 14 2006
A once-uncool and admittedly limiting metal subgenre is poised to become the Next Big Thing in loud music -- that is, if the metal community lets it guard down long enough to accept it.
Sunday, February 5 2006
With the ritualistic deluge of year-end music lists barely behind us, Nishimoto offers up a different kind of list to help hip-hop's 2006 future learn from its 2005 mistakes.
Tuesday, January 31 2006
Feeling stifled by symphonic stodginess? Jenkins reviews concert-going practices of previous centuries and suggests ways to improve the concert experience in our own.
Thursday, January 26 2006
What if you could have the majestic intensity of metal music without the overblown male bravado? One Dutch band's frontwoman sheds some light on goth-tinged rock and single-handedly alters the dimensions of doom.
Thursday, January 12 2006
Hail! Hail! One of rock 'n' roll's most innovative mavericks whose dissenting rebellion was fueled by subversive humor.
Tuesday, January 10 2006
Exactly how should the title of a wordless piece of music influence our experience of the music itself? Jenkins muses on how titles interact with the instrumental pieces they represent and, furthermore, on musical selections with no titles at all.
Tuesday, December 20 2005
A tale of two songs, both with complicated manifestations of male sexuality that explicitly broach gratification and possession in the shadow of the Ying Yang Twins' 'Wait (The Whisper Song)'.
Sunday, December 18 2005
From metalcore to hardcore, guttural growls to soaring falsettos, and unabashedly sludgetastic to downright operatic, the cream of this year's metal crop is as eclectic as it is provocative.
Thursday, December 15 2005
There is a parallel heard in the complex, seemingly conflicted harmony of 13th century music to today's dissonant world. As we struggle to fold our differences into an orchestrated 'global' accord, we might do well to challenge ourselves to stop, and truly listen.
Thursday, December 1 2005
What makes a hip-hop song dope? It's not just about the hook, it's not just about the drops, it's not just about the scratch chorus, and it sure as hell ain't about a salary; it's about a totality.
Sunday, November 27 2005
Metal's major players are getting more powerful as they get older. Their refusal to soften in accordance with their maturity proves but one thing: when it comes to metal, age ain't nothing but a number.
Tuesday, November 22 2005
Classical music, as a culturally archaic archetype of stodginess, has long been disassociated from a contemporary relevance. Can we make it meaningful again now that we've told Beethoven to roll over?