As the frontwoman of Boston’s Coral Moons, Carly Kraft fires an opening salvo on the indie-rock quartet’s LP debut with “I Feel Alive”, a rock-hard statement for the pandemic era.
Forty years later, Debbie Harry’s blend of Blondie and Chic remains a flawed but beguiling experiment that paved the way for Let’s Dance and Like a Virgin.
Adam of Adam and the Ant’s original costume is in the Victoria and Albert Museum but you can get Ant-style highwayman and pirate costumes online if you want.
Modest Mouse’s Isaac Brock is a blue-collar poet in the best American tradition, and The Lonesome Crowded West is his opus. Our track-by-track analysis of the classic indie rock album shows its brilliance.
“’80s music” is often a short-hand for radio-friendly pop songs that are New Wavey, synthy, maybe a little goofy, a little overproduced, ridiculously catchy.
The making the Ramones’ Pleasant Dreams was tainted by personal conflicts and industry interference. Joey wanted pop and Johnny wanted punk rock.
Kate Neckel and Eric Lilavois discuss the joy of collaboration on Rêver, their debut album as the Copper Trees.
When life’s struggles get you down, singer-songwriter Brett Newski provides the perfect pick-me-up with his new book and accompanying soundtrack album.
The Cure’s Faith–released 40 years ago this April–comes from a haunted, solipsistic place and it seduces you into its tormented world.
With its devils and aliens, pop music can be a “window on the weird”, sweeping odd material lodged in subcultural pockets into the broader currents of culture.
In this exclusive interview with PopMatters, Van Hunt discusses his new collaboration with Nate Smith, the influence of Sly & the Family Stone, and a career-spanning compilation that defines independence.
