Tuesday, December 10 2013
What's going to be most often said or written about the year in country music, 2013? That it was the "year of the woman" in a Nashville that's still a man's world after all.
Jewel running, megalomania, acid rap, and sasquatches -- hip-hop continues to surprise in 2013.
Friday, December 6 2013
Eminent criminologists make a compelling case for why America's 40 year embrace of the punitive spirit has been morally bankrupt and endangered public safety.
Thursday, December 5 2013
In 2013, the best indie-pop felt like "secret music" meant for our ears only and, at the same time, like we're being pulled into a community.
Tuesday, December 3 2013
Following the US release of new Dexys album One Day I'm Going to Soar, Kevin Rowland talks about why it took so long to get back in the studio, the benefits of meditation, and why he's not your friend.
It's a generalization, but the year in indie rock saw a turn away from harmony-focused, gentle rock and back toward something a bit noisier, a bit more idiosyncratic, a little harder to ignore.
Wednesday, November 27 2013
Placebo have been a cult band of reknown for years, but even after all this time, they are trying new things like taking guitars out of some songs completely, turning down offers to make more money, and loving their process more than ever.
When I touched a copy of the Beatles’ Rarities from The Odd, Older Man’s box of records, the hair stood on the back of my neck.
Monday, November 25 2013
Not many noise/electronic duos get their music featured in the Olympics, but Fuck Buttons aren't any ordinary group, and they talk to PopMatters about their big gold medal moment, their new album, and so much more.
Thursday, November 21 2013
Expecting the unexpected has always been a good way to go about experiencing Throwing Muses' music. But if there's a constant to the beloved band and its leader Kristin Hersh, it's that she follows her own, well, muse, as she explains in an interview with PopMatters.
Wednesday, November 20 2013
Zachary Cale may know everything you'd want to know about the fingerings and folk-picking styles of artists like Mississippi John Hurt and Blind Willie McTell, but he's not interested in recording historical artifacts.
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.