Call for Essays About Any Aspect of Popular Culture, Present or Past

Music
Brown Bird: Axis Mundi
Brown Bird's final album finds them expanding their sound without sacrificing their personality. And using drums played with hands, not just foot pedals. [28.Apr.15]
Braids: Deep in the Iris
The Montreal trio's latest album shows an increasingly refined sense of knowing when to nurture one impulse and temper another, embracing compromise without sacrifice. [28.Apr.15]
Kevin Barnes' Monolithic Egress: An Interview with of Montreal
By Ben Morrs
Of Montreal's Kevin Barnes explains why it's OK to make music that's ugly, why he loves Os Mutantes, and why he can't recreate his most hated song ever. [27.Apr.15]
Pop Unmuted Podcast: Brian Wilson's 'No Pier Pressure' and Veteran Pop Artists
The latest installment of Pop Unmuted talks about pop artists who are far into their careers, starting with the latest Brian Wilson album. No Pier Pressure. [27.Apr.15]
Blur: The Magic Whip
The Magic Whip is a goofy record, featuring a kind of scattershot energy that is usually only mustered by young bands just discovering their love of music for the first time. [27.Apr.15]
Reviews
TueMonFriThuWed
Brown Bird's final album finds them expanding their sound without sacrificing their personality. And using drums played with hands, not just foot pedals.
The Montreal trio's latest album shows an increasingly refined sense of knowing when to nurture one impulse and temper another, embracing compromise without sacrifice.
Raucous and debauched, From the Basement has the strut and swagger of Stevie Ray Vaughn and the decadently ragged appeal of ‘70s Rolling Stones.
Seasick Steve shows excellence while away from his comfort zone, but re-re-fried blues is a dead end.
If the Soft Moon's techno-mope isn't exactly authentic, it's certainly genuine and most definitely consistent on Deeper.
Mixtape of the Open Road is as cohesive and dynamic as the road itself.
The Magic Whip is a goofy record, featuring a kind of scattershot energy that is usually only mustered by young bands just discovering their love of music for the first time.
Ava Luna's latest is as multilayered and pleasantly bewildering as the "infinite house" where it was recorded.
Golden may be the one record to bring Johannes Mayer (The Late Call) to wider awareness.
The shift from Portico Quartet to Portico wasn't an evolution; it was a dismantling, a removal of so much of the soul that once made them vital.
Electronic supergroup Future Brown serve up a quietly evolutionary debut that blends multi-cultural styles without sacrificing mass appeal.
If you don't like music, then you'll adore Maximum Entropy.
Numero Group’s 16-disc box set of phone calls featuring Scharpling & Wurster is both the sort of product that might have been lampooned on The Best Show on WFMU as well as a great monument to their first, weird era together.
Even when Damogen Furies starts to become overfamiliar in its spastic rhythmic explorations, Squarepusher finds a way to upset the listener's expectations.
A solid album with a number of beguiling songs and a lot of spirit, A Forest of Arms is the sound of a band well into their musical journey, with many more miles still to go.
The music sounds old, as if it was meant to be played on a 78 rpm turntable, but without the scratchiness.
Anthology serves its purpose -- that is, to compile Howe’s solo stock and spotlight him outside the confines of his day job.
John Moreland proves there's nothing sanctimonious about singing the truth on High on Tulsa Heat.
A survivor band if ever there was one, the Charlatans have drawn on personal tragedy to produce one of the stand-out albums of their long career.
Hospital Handshakes is a milestone in Rocky Votolato’s career and one that would do well to serve as a springboard for all his efforts going forward.
There's something about iLoveMakonnen's tone and inflection that turns his wobbly singing and hazy, uncomplicated rapping into reliable ways to deliver hooks. He might not have perfect pitch, but his pop instincts are awfully close.
On Chaos and the Calm,, singer/songwriter James Bay delivers a sound debut album that's never earth-shattering.
Michael McDermott's newest project is off to a promising start. If only it was a little more difficult.
What makes the Alabama Shakes sound new is that they’re evidently devoted to their musical forebears -- everyone from Etta James and Aretha to Bowie and Zeppelin -- yet also coquettishly unfaithful to each one of them.
Eponymous albums aren't for amateurs, and Wire's 13th chunk of full-length steel proves it.
A stunningly ferocious noise album from four masters of their craft.
Blandness sometimes encroaches, but Sexsmith’s 14th record proves, at its strongest, to be a typically warm, reassuring, and likeable piece of work.
Forty four tracks from Lee’s radio show that she never recorded later and have, for the most part, not been heard since they originally aired.
Capsule Reviews
Events
Mixed Media
News
Features
By Ben Morrs
Of Montreal's Kevin Barnes explains why it's OK to make music that's ugly, why he loves Os Mutantes, and why he can't recreate his most hated song ever. [26.Apr.15]
By Dominik Bartmanski and Ian Woodward
As a multifaceted cultural object, vinyl has remained a persistent force within our technologically accelerated culture -- although not without bumps in the road. [23.Apr.15]
Columns
Continental Drift
A household name in his native country, Italy has in Marracash one of its biggest contenders of hip-hop. [23.Apr.15]
Kickin' Up Dust
There are plenty of good reasons to visit an actual record store besides that one hyped day in April. [21.Apr.15]
From The Blogs
Now on PopMatters
Announcements
PM Picks

© 1999-2015 PopMatters.com. All rights reserved.
PopMatters.com™ and PopMatters™ are trademarks
of PopMatters Media, Inc.

PopMatters is wholly independently owned and operated.