Morrissey goes all Wings of Desire on his latest video, a tune from the 2009 b-sides compilation Swords. Craig Carson said of this song last year: "'Ganglord' takes on the LAPD, and his venom is palpable: 'They say 'to protect and serve' / But what they really need to say is / Get back to the ghetto.' Never one to mince words, the track reminds me of the vitriol of the Quarry track 'Irish Blood, English Heart', but with a more sinister overtone. Not too many musicians of his stature would offer such unvarnished, ugly truth via a pop song. It’s a positive attribute or an Achilles heel depending on the listener, but one that sets Morrissey apart in a sea of apolitical, empty-headed entertainers."
As The Final Year quietly argues, if the United States' electorate fails to elevate itself to a higher level of political vernacular than coarse tweets and reality TV-style colloquies, then 2016 may be the best year the US will have had for a long time to come.
New single from dark duo VOWWS conjures classic James Bond scores while avoiding all the stuff we've all heard before.
Soulful balladeer Reigen reminds us that sometimes not knowing is a real place to start understanding.
There's a ghostly suggestion of Philip Roth's writing voice in Portnoy's Complaint in this novel; a relatively calm voice, this time in the third person, documenting the madness.
The Hackensaw Boys reboot Blaze Foley's Reagan-era "Oval Room" in light of the current political climate with scorching results.
Eric Benoit fuses elements of dance, folk, and alternative styles in the experimental "Dragonflies", wherein the artist delves into some uncomfortable realities.
An avant-garde classic or a sneering joke? Third Reich 'n Roll may be over 40 years old, but it still sounds like it's been beamed down from the future.
Pulp functions less as a pulpy mystery or gangster tale than as a spoof of same, albeit a spoof that retains a noirish sense of fate and power.