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My Bloody Valentine's Loveless stands as an album of (at least) equal importance to Nirvana's Nevermind. A great deal of its importance is how it offers a gender-bending sonic style that severed the entrenched connections between the electric guitar and masculine phallic power.
Canadian indie rockers Wares offer up their first LP for a label. Survival demonstrates that combining indie rock and synthpop can be pretty difficult to get right.
Jehnny Beth's (Savages) solo debut To Love Is to Live feels like a really good book. Each track gives you a deeper dive into a complex and multifaceted, destructive character.
One of the pleasures of human culture is that, as a combined stream of millions of individuals' efforts in this current moment, and millions of people's inputs across time stretching back thousands of years, no single person will ever have seen or heard it all.
Los Angeles punk rockers, Flat Worms succeed in transforming the urgency to escape into a musical experience on Antarctica.
Protomartyr's "Processed By the Boys" is a gripping spin on reality as we know it, and here, the revolution is being televised.
Two guitarists, Lee Ranaldo and Raül Refree make an album largely absent of guitar playing and enter into a bold new phase of their careers. "We want to take this wherever we can and be free of genre restraints," says Lee Ranaldo.
tētēma's Necroscape has some highlights and some interesting ambiance, but ultimately it's a catalog of misses for Mike Patton and Anthony Pateras.
On their self-titled debut, Human Impact provide a soundtrack for this dislocated moment where both humanity and nature are crying out for relief.
Imagine an orgy scored by rusty industrial equipment blasting New York City noise-rock, something like Unsane, Cop Shoot Cop, or Swans in their wicked primes. That's the noise-rock supergroup, Human Impact.
The fruitful collaboration between these two unique musicians continues on an album that is dark but surprisingly melodic.
On Stray, Bambara peel the curtain back further on their reality. Haunting and deeply evocative words are sewn into a dark tapestry of atmospheric, brooding goth meets post-punk on an album that lingers like the rough outline of an aging scar.
Revered experimental Japanese noise/punk/jazz band, OOIOO are back with a typically intense and brilliant new album, nijimusi.
Minneapolis noise rock band, Buildings return with a new album and a new cut that speaks to the frustrations we face every day. Buildings make boredom sound (almost) fun on "Sit With It".
The companion piece to Sunn O)))'s masterful Life Metal completes the most organic and minimal chapter in the drone masters' journey.
After more than three years together, Brooklyn duo ESSi finally released their first full-length album. PopMatters caught up with them before a show to discuss their effects-laden punk sound, New York's vibrant DIY music scene, and how Craigslist saved them more than once.
October is dominated by heavyweight returns from noise rock pioneers Swans and Lightning Bolt, while also filled with the black metal bleakness of Blut Aus Nord and the Great Old Ones, while Vastum continue 20 Buck Spin's death metal master class streak.
Lightning Bolt's Sonic Citadel is both punishingly noisy and, at times, surprisingly tuneful. People who are on Lightning Bolt's exceedingly loud, improvisational vibe will find plenty to like here.
The last in Cherry Red Records' four Dinosaur Jr. album reissue series, Hand It Over, makes a clear case for the appraisal of an album that deserved far more than it received.
Dinosaur Jr.'s last chance to bite at the apple of fame came in late 1994 with their album, Without a Sound. This expanded edition from Cherry Red Records makes the case for hearing it free of the baggage of that alt rock era.
One of alternative rock's key statements arrived in 1993 with Where Have you Been. It receives the definitive treatment from Cherry Red Records in the second of a four album reissue series encompassing all of Dinosaur Jr.'s major label releases.
A long-overdue reissue of Dinosaur Jr.'s Green Mind from Cherry Red Records wraps a superb album in top-notch outtakes, scorching live renditions, liner notes worth the price of admission, and great artwork.
Portland duo Fox Medicine recall the intersection of environmentalism and wicked humor in the earliest grunge, and offer up their own brand of "bubblegum doom" on "Comfort Pony".
Brazilian-born, Canadian-based duo Palm Haze deliver a deliciously weighty bit of goth-cum-shoegaze that feels like this could be one of your new favorite bands.
On Nighttime Stories, instrumental quartet Pelican make the most out of working without a singer, proving that some narratives are best built without words.
Guitar Wolf, Japan's answer to the Ramones, has proudly kept their shtick going for 32 years, and the ravenous pack doesn't let up in their latest, Love and Jett.
Like their namesake, Black Midi are a restless, unstoppable force that push their members and listeners to their limits in Schlagenheim.
Cherry Glazerr's singer, main songwriter, and guitar player Clementine Creevy is not one of those artists who wishes everyone would leave her alone. She's made a big rock star album in Stuffed and Ready and she's having a blast playing sold-out shows.
There's an 'exorbitant' something that might be considered the implicit subject of Daughters' You Won't Get What You Want, in which it's never entirely clear if the threat is invasive, exerted from outside, or the confession of internal struggle.
After 19 years of silence, Royal Trux returns rejuvenated and unleashes an old-school, energetic, and fun ride in White Stuff.
With its personal perspectives on the effects of the current cultural zeitgeist, Cherry Glazerr's Stuffed & Ready is not simply a great rock record, but an important document in the early days of 2019.
On Boy Meets Girl, Japan's ENDON carry down the same path of aggression tilting towards their hardcore-esque origins.
Noise rock, mathcore veterans Daughters make a fantastic return to the extreme, experimental scene with the highly potent and verging on sadistic You Won't Get What You Want.