In Kate Bush’s 1985 embrace of the Other in “Running Up That Hill” resonates with Gen- Z’s ethos by questioning the binaries of our programmed genders.
The Beach Boys’ Pet Sounds is not a racist text, but its impact was racist because it further encoded rock as a white genre, perpetuating the institutionalized prejudice that relegated African Americans to the margins of rock.
If post-1978 prog-rock resembles a parched desert, Circe Link and Christian Nesmith represent our binary Moses: desperately awaited and here to lead us out of the wilderness.
Genesis compilation The Last Domino? The Hits reminds us of a time when rock music, be it progressive, popular, both, or neither, was afraid to stay stagnant.
Field Music’s last album Making a New World concerned subjects like the Dada movement, social housing reforms, and sanitary napkins. Flat White Moon‘s subject matter is a little closer to home.
Having long moved on from his days in 10cc, Kevin Godley took decades to unleash a solo record. He solicited songs from random people and tells us how he's in good contact with Gotye and how he can't stand happy music.
The Academy of Sun's The Quiet Earth is an interesting mish-mash of styles. Singer-songwriter-pianist-bandleader Nick Hudson prefers to use "Gothic dystopian post-punk" to describe the band.
Dutch post-punk, pop trio the Homesick blend a host of influences, from Scott Walker to Meredith Monk, in with their kaleidoscopic sound on their second album, The Big Exercise.
Making a New World tackles some heavy ideas via Field Music's commonly charming, luminous, and multifaceted aesthetic.
Art pop group Elk City share their latest video "Pity of a Rose" and discuss their latest EP, Souls in Space. "My goal in directing the video was to illustrate a human being incapable of emotion, who is navigating the prison of her mind," says co-founder Renée LoBue.
Theatre/film composer Gaby Alter prepares his first EP as Yes Gabriel and meditates on what may actually be the cruelest month in "Deep February".