Rivers Cuomo can preach the gospel of Sabbath with all the sincerity he can summon; there’s still no other way to process Van Weezer than with a tongue planted in a winking cheek somewhere.
Surprise shows that the familiar pleasures of Paul Simon’s work are the themes and musical sparks that leave a lasting influence.
Marianne Faithfull’s She Walks in Beauty captures the sad, reflective mood of the world. It’s an apt period to a very long and moving sentence.
Peter Stanfield’s ‘A Band With Built-In Hate’ highlights redundancy, aggression, obsolescence, and ambiguity in Townshend’s lyrical stance and the Who’s performing methods.
Yoko Ono’s story is of a passionate and powerful songwriter and artist. A creative and sensitive musician who worked doggedly to bring her avant-garde aesthetic to pop music and to use her voice to advocate for the rights of women, racial minorities, and LGBTQ people.
The Prize Fighter Inferno’s The City Introvert has a safe superficiality, combined with a few moments of out-and-out cringe, making it above-average at best.
Imelda May’s 11 Past the Hour seems a deliberate attempt to widen her audience in the US. The music is much more conventional than her earlier records.
Face of the Screaming Werewolf is more fuzz-toned fun from the Fleshtones, a group that have managed to ignore any significant musical trends since Altamont.
The London Souls’ Tash Neal talks with PopMatters about his solo career, the funk and soul influences in his fiery rock music, and moving beyond the trauma of his life-altering accident.