When Pulp Were Freaks
Long before their rise as Britpop chart-hitters, Pulp recorded the eerie Freaks, the off-kilter progeny of a Spider-Man impression and a life-changing accident.
music feature
Is Opera Evil?
While its historical association with elitism and intellectualism harms modern opera, Hollywood uses it to convey a villain’s sinister, superior intellect, playing on historical insecurities and modern perceptions of elitism.
A Jigsaw Falling into Place: How Fan Theories Help Market Radiohead’s Music
Masters of mystery, Radiohead’s modus operandi manifests in various fan theories – particularly the Binary Theory – which becomes brilliant music marketing.
Iggy Pop’s Noise Became My Chemical Romance’s Language in Detroit
At Comerica Park, Detroit’s original punk provocateur Iggy Pop turned a supporting slot into a confrontation between rock’s past and its future.
Jazz Saxophonist David S. Ware Never Played It Twice
Years after his untimely departure, David S. Ware remains one of free jazz’s most versatile tenor saxophonists. We delve into his career by revisiting one of his last interviews.
The Most Canadian Band of 2026 Is from Outer Space: Angine de Poitrine
At a moment of renewed Canadian self-definition, the country’s most celebrated musicians, Quebec duo Angine de Poitrine, insist they aren’t even from this planet.
Slayyyter, Recession Indicator
Slayyyter is the queen of dilapidation, and partying is her defiance against a socio-political structure designed to keep the majority down.
Music of the Message Boards: Ninajirachi and Internet Culture
Ninajirachi’s I Love My Computer is more than nostalgia for the old internet: it’s a showcase of digital-native storytelling about the online culture that shaped her identity.
Scatman John’s Forgotten Jazz Album Is a Little Masterpiece
Before his unexpected rise to pop stardom as Scatman John, John Larkin spent years working as a fierce, volatile jazz pianist, crossing paths with some legendary names in the genre.
Why Deadhead Culture Is a Pure Strain of American Noir
Yes, Deadheads came for the music, but also for the possibility of a life outside the bounds of straight society; something vaguely criminal and very American noir.
How Melanie Martinez’s “THE VATICAN” Revives an Old Religious Joke
Melanie Martinez’s “THE VATICAN” sounds like a distinctly modern piece of religious provocation, but its central technique is rooted in medieval parody.
Dolly Parton and Beyoncé’s “Jolene” Leads to a Foucaultian Question
The names Dolly Parton and Beyoncé, when associated with the song “Jolene”, change what we might expect to hear from the song’s narrator—but to what extent?