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Mental Pop & Beyoncé Beats: An Interview with Liam Finn
Crusty walls of distortion co-exist with pop hooks in the second and latest solo album from Liam Finn. Here the songwriter talks about taking a break from life on the road to write FOMO in far-off New Zealand, working with producer Burke Reed and percussionist Glenn Kotche to seriously tinker with his sound and taking inspiration from, of all people, Beyoncé. [7.Feb.12]
Paul McCartney: Kisses on the Bottom
As musical interpretations of romance go, Kisses on the Bottom may only get you about halfway there, flowers in hand wondering whether a second date is on the cards, unsure if that’s even what you want at all. [7.Feb.12]
Something to Brag About: An Interview with Deer Tick
Hundreds of disposable cameras? Alter-egos known as "Captain Tipsy"? Determining what makes a Tickhead? All in a day's work for Deer Tick, who tells PopMatters all about it while still basking in the critical glow of its latest disc. [7.Feb.12]
House of Blondes - Come Running Video (PopMatters Premiere)
House of Blondes is an up and coming electronic duo from NYC and their vibe is electro synth, and their sound is akin to the likes of Daedulus, Holy Fuck, Amon Tobin and Hot Chip. [7.Feb.12]
'Nebraska': Bruce Springsteen's 'Heart of Darkness'
In 1982, with the charts ruled by “Physical”, “Don’t You Want Me” and “Eye of the Tiger”, along came a low-tech record about killers, small-time thieves and other forgotten souls -- and it's still one of the best albums in American music. [6.Feb.12]
Reviews
TueMonFriThuWed
As musical interpretations of romance go, Kisses on the Bottom may only get you about halfway there, flowers in hand wondering whether a second date is on the cards, unsure if that’s even what you want at all.
The band name is silly. The album cover art is atrocious. The opening song is merely a wall of noise. But once you get past all of that, Ester is a rewarding slice of shoegazey dream pop that’s evocative of ‘50s R&B and surreal movie and TV soundtracks.
The preeminent Mexican guitar duo rattles Havana with a Cuban orchestra.
Absorbing Snakeoil is one of this "how did they do that?" kinds of experiences.
Driven to be better than what his former band was forced to become, ex-Sonic Syndicate vocalist Richard Sjunnesson has finally created what he had envisioned all along.
For any intent or purpose, you are encouraged to spend as much time as possible with this recording. It is as edifying as it is enjoyable.
Kevin Barnes takes Of Montreal out of its sexy funk phase and into its...20th century atonal minimalism phase? Yikes.
Pretty Good Dance Moves are pretty, pretty, pretty... well, fair to middling, actually.
There’s a drunken fight, a couple grappling in the back seat of a car and other typical Saturday night scenes found outside a bar, but the lyrics give the participants a sense of dignity.
Buzzcock Pete Shelley's label reissues its entire three album run with a bonus disc. Sometimes, there's even real music.
Both of these records, while markedly different, are strong indications that classical music, like any other genre, is one rife with innovation.
The felt itself is an additional instrument, a scrape of percussion as each key is played and released.
The Internet-famous chanteuse releases her highly-anticipated debut album. Does it live up to the hype?
Up-and-comers Hospitality are like the characters of their songs: accomplished and bright, with room to grow.
By Edward Whitelock
During their short existence, the Primitons were grouped into that mid-'80s sub-genre of “jangly Southern bands that sound like R.E.M.” This was unfair to both.
Frère Jacques: Round About Offenbach is a reverent tribute to an irreverent man. Despite that, it's fantastic.
The Renderers prove once more that they don't have to sacrifice their experimental side to sound accessible, and 20-plus years in, they're as good as they've ever been.
In 1999 Wynton Marsalis ushered us into the 21st century with an incredible effort, proving yet again why he is already a legend.
The Brooklyn Chairlift works differently, obviously. It lifts you up but won't bring you down.
As solid as Buxton is, they're doing nothing to set themselves apart from other bands in their genre, and they don't quite have the songwriting chops to overcome that lack of character.
The Soul Rebels Brass Band make a case for the greatness of the horn section.
MU.ZZ.LE is Gonjasufi's first artistically cohesive statement: a bold first stab at playing with space and mood. It’s a compelling reason to keep watching to see what he’ll do next, because if this is what Gonjasufi sounds like muzzled, we should all be very afraid when he finally decides to unleash.
While pinning down Kelly’s style is impossible as he’s always changing, his lyrics are always literate and innocently romantic. He may understand love hurts, but that doesn’t stop him from being sucker punched.
CD/DVD combo pack documents an American treasure: Florida swamp-rock-boogie-blues at its finest.
Jennifer Herrema, ex of Royal Trux, and her cohorts deliver a confounding record that is clearly a candidate for most audacious album of the year, a mere five weeks into 2012.
These videos deftly match Harvey's exploration of England's wartime past with artfully filmed images of its present.
The stately winter mood evoked by Longplay 2 has given way to the lullaby dreaminess of Weekends, trading post-rock for shoegaze. The results are often excellent, though the record isn't without its missteps.
A strong collection of tunes from a blues guitar stalwart.
Kammerflimmer Kollektief present an ambient electro-jazz album without much bite to it.
Percussion ensemble keeps counting out time.
Capsule Reviews
The forte of this genial and energetic New York collective is not songwriting but jam management. [07.Feb.12]
Events
By Ryan Lester
Twin Sister is a talented and smart collective of musicians, but their set at the Mohawk showed that they still have a long way to go before they can enter the realm of "captivating live act". [07.Feb.12]
Features
Crusty walls of distortion co-exist with pop hooks in the second and latest solo album from Liam Finn. Here the songwriter talks about taking a break from life on the road to write FOMO in far-off New Zealand, working with producer Burke Reed and percussionist Glenn Kotche to seriously tinker with his sound and taking inspiration from, of all people, Beyoncé. [07.Feb.12]
The concept of a “trilogy” is such an overdone thing. Be it film trilogies, album trilogies, book trilogies, video game trilogies… we have all seen trilogies in various forms of entertainment media to the point of it becoming banal. At the end of the Deathspell Omega experience however, do not be alarmed if you wake up to find yourself in Silent Hill. [06.Feb.12]
Columns
Sound Spectrum
In 1982, with the charts ruled by “Physical”, “Don’t You Want Me” and “Eye of the Tiger”, along came a low-tech record about killers, small-time thieves and other forgotten souls -- and it's still one of the best albums in American music. [06.Feb.12]
Field Studies
I'll Be There in the Morning offers an affectionate but hardly rose-colored view of Townes Van Zandt and his influence on other songwriters. [02.Feb.12]
From The Blogs
Hundreds of disposable cameras? Alter-egos known as "Captain Tipsy"? Determining what makes a Tickhead? All in a day's work for Deer Tick, who tells PopMatters all about it while still basking in the critical glow of its latest disc. [07.Feb.12]
DVD Reviews
Loud guitar, astrophysics, little people, S&M clubs, positive thinking, and nude women on bicycles are all part of the Queen saga, darling. [30.Jan.12]
The US Festival's "Country Day" in June 1983, featured both Waylon Jennings and Willie Nelson. [24.Jan.12]
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