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CF Watkins has pulled off the unique trick of creating an album that is imbued with the warmth of the American South as well as the urban sophistication of New York.
Canadian singer-songwriter Helena Deland's first full-length release Someone New reveals her considerable creative talents.
Aussie indie rockers, Floodlights' debut From a View is a very cleanly, crisply-produced and mixed collection of shambolic, do-it-yourself indie guitar music.
Bishakh's Som's graphic memoir, Spellbound, serves as a reminder that trans memoirs need not hinge on transition narratives, or at least not on the ones we are used to seeing.
Oceans of Slumber thrive with their progressive doom, grind legends Napalm Death make an explosive return, and Anna von Hausswolff's ambient record are just some of September's highlights.
Serpentine Prison gives the National's baritone crooner Matt Berninger a chance to shine in the spotlight, even if it doesn't push him into totally new territory.
The secluded island trope in films such as Cast Away and television shows such as Lost gives culture a chance to examine and explain the human animal in pristine, lab like, habitat conditions. Here is what we discover about Homo sapiens.
Power trio Bad Wires' debut Politics of Attraction is a mix of punk attitude, 1990s New York City noise, and more than a dollop of metal.
After a couple of albums figuring out what they wanted to do musically and a few years shuffling members, Alaska is really where things started to click into place for Between the Buried and Me.
Heavenly sonic colors flow freely in RUI HO's artistic sanctuary, and the view from the audience is one of sheer euphoria.
Avatar shows us that to fight for only the people we know, for simply the things that affect us personally, is neither brave nor heroic, nor particularly useful.
Future Islands' sixth album, As Long As You Are, is more of the same -- deeply confessional synthpop -- and that's a beautiful thing.
Natasha Alterici's comic series, Heathen, has single-handedly redeemed the disaster that pop culture has been making of Norse mythology.
Despite its ambitious concept, Cut Worms' Nobody Lives Here Anymore is as much a product of nostalgic consumer culture as the society it criticizes.
Though marvelous at executing their musical ideas on Matriphagy, nu-metal's Tallah sacrifice creativity for fidelity.
The third album by the impossible-to-categorize no-wave duo Budokan Boys is a meditation on death filled with songs that are both strange and strangely moving.
What It Is, the new album from multi-instrumentalist, producer, and Quantic collaborator Sly5thAve, represents a triumph of musicianship over genre conventions.
This year looks a lot like 1984 to Bob Mould and he is most definitely, not happy. Not happy at all. His guitar sounds like it's on fire.
One of the best rock bands of the 1980s, the Replacements show what alternative rock was all about on Pleased to Meet Me.