Jason Heller's Strange Stars, on David Bowie and sci-fi, is an exciting and loving look at a time when infinite wonder had a role in the pop music marketplace.
This is how the stream-of-consciousness rantings of an angry 60-something-year-old man should sound. Even the title of the album looks like it's missing some punctuation.
Outlaw Music Festival shows that America's musicians remain one our nation's best cultural weapons against the ever cunning forces of avarice and tyranny.
Bear Family has issued the complete recordings of Lefty Frizzell's music on 12 CDs, and then throw in eight more CDs of his kid brother David reading his biography of the musician.
The most interesting aspect of Sowas Von Egal is the tracks that focus on the rigid, guttural, tribal yet highly danceable electro-industrial sound that was exemplified by the German DAF and Belgian Front 242.
An early scene of a raging forest fire becomes the overarching metaphor for Paul Dano's Wildlife, as a young man stands in the path of a different kind of destructive force.
The compilation, whose title refers to the Blue and White Nile rivers that bracket Khartoum, collects 16 tracks from 15 artists and offers an eclectic slice of the sounds of a bygone Sudan.
In her debut record with Vouna, Yianna Bekris combines the ferocity of black metal and the weight of doom/death with traditional Greek folk influences to produce an intriguing release.
Sydney's Castlecomer is a family band and their self-titled debut album is full of catchy dance-rock songs that range in quality from "pleasant and listenable" to "pretty darn good".
Experimental artist Penelope Trappes has created a photobook and video to go with Penelope Two whose stark images appropriately mirror the sounds. As in the pictures, Trappes finds being naked of value in that it allows her to be herself.
