Sunday, January 1 1995
PopMatters music critic Matt Gonzales discovers what makes My Morning Jacket's sound reverberate with fans, all the way to the Netherlands.
The UK's hotly-tipped new band The Music's Robert Harvey discussed his group's resolve and their initial impressions of American audiences.
What happens when one music journalist interviews another? On the other end of the microphone, Albert Mudrian talks about death metal, John Peel, and those pesky interview transcriptions.
John Darnielle of the Mountain Goats directs us to the volume knob as he takes on hockey's sissies.
Unless you just happen to be an ardent fan of progressive-rock music, you may not be familiar with Spock's Beard or its resident musical visionary, Neal Morse.
As artforms change, artists within them must decide whether to change also. On one hand, there's staying up-to-date. On the other hand, there's maintaining individual identity. How do artists stay relevant as their cultural contexts shift?
The Minus 5 frontman is probably only a few degrees of separation away from you, and McCaughey is as happy working with long time pals as with brand new ones.
“We were actually in shock,” says Buddy Miller of the Americana Music Assocation’s recent decision to give the “Album of the Year” award to
As a premier model in the contemporary groove scene who has informed the soul dialect with the global accents of civic cosmopolitanism and worldly savoir faire and the jazz idiom with transgressive definitions on manner and tradition, she has revealed a mural of a muse who concertedly charters earthy soul and funk, classic jazz, and nu jazz hues in a swirl as colorfully cant as a Wassily Kandinsky canvas and concretely confident as a Ogiwara Morie construct.
Adam Pierce talks about writing and recording the new Mice Parade album, Bem-Vinda Vontade.
The songwriter wants to know why I hate show tunes.
Los Angeles rock circuit fixture Kirk Hellie and bandmate Christopher O'Brien talk to PopMatters about their new musical endeavor Meow Meow.
The Mendoza Line's Shannon McArdle explains how she and the band made their Fortune.
Memphis Bleek's back for the throne that was meant to be his.
'We don't need to have our art be ugly. But it is; a lot of it. And these people justify this crap by saying, 'Oh we're just representing what's out there, man'. Basically, you're making it worse and number one, the artist's job is to elevate people and to lift people up and to give them a place to go, something to hold on to.' Don McLean speaks to PopMatters about art, love, and Britney Spears.
PopMatters talks poetry, ornithology, and dead languages with the whipsmart post-folk rocker Erin McKeown, who might not have made her new album at all if she'd paid more attention in high school English.
Roger McGuinn's spent the last ten years uncovering and distributing folk gems, but it's not as if he just started doing that. 'What makes the Byrds stand up all these years is the basis in folk music,' he says, while explaining what's really gone on.
PopMatters talks to the mastermind behind the Byrds about his latest release, Limited Edition.
'I know I'm probably sounding like a real asshole,' Delbert McClinton says. 'But I'm really not.' No worries, sir. I, too, know the horrors of flight delays.
The bandleading bassist pulls together a cast of violins and trumpets and turntables for complex exploration, and he makes it sound fun.