A 14-year-old at his first rock concert stares down a stampede of 15,000 drug-addled maniacs fleeing clouds of choking tear gas in an effort to see Rush play.
PopMatters takes a deep dive into Radiohead’s first musically important album, The Bends, where the group’s experimental inclinations initially took flight.
The Beach Boys’ That’s Why God Made the Radio is unsettling and inoffensive in a way I cannot compare to any album except God Bless Tiny Tim.
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 popular musical instrument has been more frequently maligned than the accordion. Despite gaining hipster cred in the 1990s, its role in pop remains underappreciated.
Three decades ago, the lucid yet obscure (and antiquated yet postmodern) first entry in Stereolab’s superabundant catalog foreshadowed greatness. Peng! is 30.
Sinatra at The Sands is my favorite Frank Sinatra performance – cocky, charming but not oily, warm but not soppy. Each listen lays bare the sheer “cuckoo calculation” of it all.
While murder and crime certainly run deep in Claude Chabrol’s world of subterfuge, the dark desires of human nature that provoke them run immeasurably deeper.
The Bends hinted at Radiohead’s potential, but OK Computer allowed Radiohead the freedom to experiment and started their progression to forward-looking music.