Tuesday, November 19 2013
Into 1988's pop music climate came “Under the Milky Way”, a moody, jangly song that didn’t fit in. Its closest contemporaries were R.E.M. and the local “paisley underground” scene of Los Angeles, which included bands like the Bangles and Rain Parade.
Wolf Parade. Sunset Rubdown. Moonface. No matter what moniker he's donning, Spencer Krug remains a compelling figure, and with his vulnerable new album, people see new sides of him, and he tells PopMatters about that, the status of all his bands, and so much more.
Monday, November 18 2013
Ghostface Killah rose through the ranks of Wu-Tang Clan, paid his dues, and deserves his rightful place as the savior of the Wu-Tang regime.
From an odd and tragic childhood, to life as an underground metalhead, to crazy success, James Hetfield has managed a mountain of rage quite well.
Thursday, November 14 2013
Celebrating a brand new video and her very first solo single, Alfa Anderson reflects on CHIC, Luther Vandross, and all the other "good times" from her four-decade career.
Wednesday, November 13 2013
Counting Crows have never played things by the book, which is why the Oscar-nominated group's third live release is filled with covers, and Duritz talks to PopMatters about his process, his regrets, and what fans can expect next ...
Monday, November 11 2013
Max Bemis' new project is a collaboration with his wife Sherri, who fronts Eisley. Bemis talks balancing his family life with his recording one and how marriage has changed his music, but not in the way you think.
Wikileaks’ Julian Assange noted that the East German secret police employed ten percent of the population as informants. The genius of Facebook is that it's an emoticon-besotted surveillance apparatus through which friends rat out friends routinely.
Friday, November 8 2013
Controversial and somewhat enigmatic, Richard Pryor’s performances opened up a new world of possibilities, merging fantasy with angry reality in a way that wasn’t just new—it was heretofore unthinkable.
Wednesday, November 6 2013
After losing one of their founding members, Los Campesinos! were at a turning point, wondering whether to go on. Good news for us, they did (in the form of new album No Blues), and sonic architect Tom Campesinos! tells PopMatters all about it ...
Bruce Pavitt, co-founder of Sub Pop Records, talks about the early days of Sub Pop, indie culture in the 1980s, and his new book about breaking the most legendary band of the '90s in Europe, Experiencing Nirvana: Grunge in Europe, 1989.
Tuesday, November 5 2013
Martin Scorsese is a master filmmaker and often just as brilliant at incorporating music into his work. Nowhere have those skills shone brighter than in Goodfellas.
Monday, November 4 2013
The Strokes guitarist and solo artist talks about his new EP, the differences between working in a band and working on your own, and why he loves Frank Sinatra.
In the quietly experimental Random Access Memories, the androids have inverted postmodernism to make something not just pretty, but something pretty useful, too.
Friday, November 1 2013
Don't fill out your best-of-2013 lists just yet: This year's last edition of "Listening Ahead" features compelling new work from Cian Nugent and the Cosmos, Swearin', and Throwing Muses.
Wednesday, October 30 2013
In a conversation sparked by his new album Lucky Numbers the ex-Eurythmic discusses why you don't need to be glum to write glum, the benefits of recording in Nashville and why Miley Cyrus is absolutely nothing like Wendy O. Williams
Monday, October 28 2013
Lou Reed lived an extraordinary life, but that's mainly because he never followed any existing archetype. He was Lou Reed, and there was never anyone like him before, and there will never be anyone like him after.
Celebrating its silver anniversary,The Nephilim is one of the UK goth scene's masterpieces, a seamless, hour-long trek into a surreal land populated by chiming guitars, hypnotic bass, found samples, and occult themes.
Friday, October 25 2013
Novelty remains a central problem of contemporary science and literature—an ever-receding target that, in its complexity and evasiveness, continues to inspire and propel the modern.
In third album as Oneohtrix Point Never, electronic composer Daniel Lopatin works in a palette of sounds that are almost, but not quite recognizable, with structures that are nearly, but not really songs. "I'm interested in things that are on the edge of becoming real," he says. "I was thinking about that a lot."