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This Is Our New Song: 'The Bends' and the Reformation of Alternative Rock
The Bends was the genesis of Radiohead’s perceptive, forward-thinking tendencies, which would go on to inspire countless musicians in myriad ways. [1.Apr.15]
Pop Unmuted Podcast: Max Martin and Ellie Goudling's Love Me Like You Do
Episode 10 of Pop Unmuted looks at legendary pop producer/songwriter Max Martin, his 30 year career, and his latest hit with Ellie Goulding's "Love Me Like You Do." [1.Apr.15]
Death Grips: The Powers That B
While the layers of their enigma are gradually peeled away, Death Grips still show how relentlessly messy and fascinating they can be on their first double-album. [1.Apr.15]
Action Bronson: Mr. Wonderful
Action Bronson takes the best ingredients of his acclaimed mixtapes, buffs them up with tighter production values and greater artistic focus, and produces his strongest statement yet. [1.Apr.15]
What's Not to Love About the Trombone?
There was a time when jazz trombonists like Glenn Miller were mega-stars. Not so today, but talents like those of Ryan Keberle and Joe Fiedler make the case that they should be. [31.Mar.15]
Reviews
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While the layers of their enigma are gradually peeled away, Death Grips still show how relentlessly messy and fascinating they can be on their first double-album.
Action Bronson takes the best ingredients of his acclaimed mixtapes, buffs them up with tighter production values and greater artistic focus, and produces his strongest statement yet.
Ringo sings praises to the past with obvious nods to nostalgia.
This old school-style thrash metal album would be a lot of fun if the lead singer didn't punctuate his vocals with random, aggravating falsetto shrieks.
This nifty compilation fills in some blanks on the lesser-known variation of Chicago house. No booty has been spared.
This isn't the sound of "indie rock", nor is it "dad rock". This is "obligation rock", a forced brand of music that exists just because it has to.
A lack of substance, coupled with an occasionally overwhelming “lite-ness” that veers dangerously close to easy-listening, makes Complete Strangers a less-than-solid effort.
Benjamin Clementine's emotional cup runneth over... again and again.
Perfect Abandon seems to try and fit as many people into a tiny corner as possible. It's a straight-ahead folk record, but it walks that straight road with a crooked walk.
Art Pepper reignites his stake on the jazz industry in this modernized re-issuing of the first in his Neon Art series, originally pressed onto vinyl in 2012.
Nearly five years after his last studio effort, Sufjan Stevens brings us a quiet meditation on grief.
The first new studio album since 1967 from these garage rock legends has its faults, but it's an overall solid addition to their already classic discography.
This is pop music that's also anti-pop music. It's consistently accessible and intentionally confusing.
These Tall Trees veers towards a psych-lite sound, mostly upbeat and effervescent.
Recording in mono might seem like a back-to-basics move but the Mavericks never forgot what they were about anyway.
Religious music, black metal, electronic, and 8-bit all come together in this bizarre yet ultimately captivating philosophical tome from Liturgy.
It roars, dilutes, squeals, shrieks, pulsates and squawks. Welcome to the world of Zu.
Chastity Belt brings the '90s nostalgia, but forgets to bring the variety along with it.
Pug fought through some tough times to produce this optimistic, rewarding record.
The candor of Bingham on Bingham reveals an intimate portrait of love and hope on Fear and Saturday Night.
True to its name, Vibes comes chock-full of different vibes for different situations.
The eclectic guitar becomes a tool that complements Laura Marling's lyrics on this pivotal album, at times articulating visceral anger and, at others, obliterating psychic barriers and clearing space for something new.
With heavier rock influence and toned-down electronic methodology, The Scene Between represents the Go! Team's greatest deviation from their original template yet.
Goon isn’t great, but it is a fine example of what might evolve from pure pop purpose.
Andrew Combs is either ignorant of or recording in deference to the past by rekindling the gilded countrypolitan spirit on his sophomore release, All These Dreams.
The Booster series wraps up as the world bids farewell to Edgar Froese.
There's an innovative sound happening here, with many tracks sounding like they came from the soundtrack of some dystopian sci-fi world or even just the dark Orwellian future that’s currently on Earth’s horizon right here in 2015.
Capsule Reviews
Events
Mixed Media
News
By Randy Lewis
A day before Ringo Starr’s new solo album, “Postcards From Paradise,” was slated for release, the former Beatle was at the hub of a frenzy of activity. He bounded from one room to the next in his top-floor suite at a West Hollywood hotel, hustling through a string of interviews. [31.Mar.15]
Features
The Bends was the genesis of Radiohead’s perceptive, forward-thinking tendencies, which would go on to inspire countless musicians in myriad ways. [31.Mar.15]
By Vance Martin
Amidst a transformational time in the post-Vietnam and post-Reagan eras, The Bends represented a transition between the tumultuous latter half of the 20th century and the new millennium ahead. [29.Mar.15]
Columns
Jazz Today
There was a time when jazz trombonists like Glenn Miller were mega-stars. Not so today, but talents like those of Ryan Keberle and Joe Fiedler make the case that they should be. [30.Mar.15]
Stars in Our Eyes
For once, a pop artist has rejected the idea of stardom, and as a result, has become one of the world’s most discussed pop stars. [25.Mar.15]
From The Blogs
Episode 10 of Pop Unmuted looks at legendary pop producer/songwriter Max Martin, his 30 year career, and his latest hit with Ellie Goulding's "Love Me Like You Do." [01.Apr.15]
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