Tom Verlaine’s death symbolizes the continued denouement of a certain period of New York City history, a time when the word “bohemian” still held some meaning.
Talking Heads: 77‘s power-pop short song format sounded familiar, but those herky-jerky rhythms, eccentric melodies, and strained yelping vocals led to New Wave.
Not About to Die is a bootleg cassette of scrappy Wire demos recorded in the late 1970s that circulated in the early 1980s. It’s finally an official release.
Perennial’s In the Midnight Hour is what you dial up on your car stereo when you’re looking to cruise with the windows down and scare your fellow drivers into a bit of submission.
Titus Andronicus’ shared sense of good fortune is palpable all night at this ‘The Monitor Revisted’ concert. Call-and-response is jubilant – everyone knows the words.
Liars’ founding member Angus Andrew talks with PopMatters about revisiting the band’s past work and creating a new sci-fi album, The Apple Drop.
Upper Wilds’ Venus is a glorious cacophony of guitar noise, pounding drums, fuzz bass, and big catchy hooks. It filters guitar heroics through punk energy.
The sophomore release from Norwegian art-punk quartet Pom Poko is full of the same kind of sweet, distorted pleasures that made their first album so much fun.
Television’s 1977 masterpiece Marquee Moon is the 25th Greatest Album of All Time, but is it too “too too” to put a finger on? Counterbalance sees it all backward.
On 10:20, Wire retain the sound they've been cultivating for the last few albums and use it to reinvigorate and reinterpret tracks from their various periods.