Luke Haines and Peter Buck’s All the Kids Are Super Bummed Out is a weird jumble of pop art, lo-fi, and gallows humor thrown in a bucket and left unattended.
Neu! 50! highlights how when Neu! were good, they were great, and when they weren’t great, they had the good taste to be interesting, at the very least.
Suede survived grunge, Britpop, emo, and everything else the last 30 years could throw at them. But have they survived the pandemic? Find out on Autofiction.
Lou Reed and John Cale hint at the other side of the swinging ’60s with a fascinating collection of mid-’60s demo recordings for the Velvet Underground.
With a new album, tour, and eight-CD retrospective of his ’90s work, the House of Love’s Guy Chadwick seems remarkably laid back about it all.
Forty years ago, Roxy Music stepped away from the recording studio, but not before leaving behind an album that defined the 1980s. It’s the ultimate marriage of high concept, high art, and high-quality popular music.
No misplaced macho nonsense. No self-righteous pomposity. The Darkness hit the dress-up box hard, knock out some killer riffs, and are laugh out loud funny while they’re doing it.
Thirty years old and still virtually unsurpassed, Matthew Sweet’s breakup album Girlfriend rescued his career and breathed new life into the ailing power-pop genre.