Following the dissolution of At The Drive-In, vocalist Cedric Bixler and guitarist Omar Rodriguez-Lopez splintered off to make a project inspired by Pink Floyd’s Piper At the Gates of Dawn.
While it might not have much sonic similarity to that influence, their debut full-length, De-Loused in the Comatorium is an absolute masterpiece marked with aural chaos and intricate composition.
I wasn’t alive in the 1960s, so my understanding of the decade has been distilled through decades of media digest. But this record is about as close to the quintessential ’60s sound that I can imagine.
Throughout jazz history, there is perhaps no greater convergence of fiery experimentation and boundless talent than the players that made up Miles Davis’ band during his electric period.
Iggy Pop once called Iceage “the only dangerous-sounding punk band in the world.” After listening to their sophomore record You’re Nothing, I completely agree with the Lewd One.
Their newest record finds them gunning to reclaim that title after a brief detour, and it does not disappoint. Continue reading
If Destination: Beautiful had convinced detractors that Mae was overly sentimental and pretentious, then The Everglow certainly wasn’t going to change their minds. I mean, it’s a concept album with an accompanying picture book that opens and closes with a narrator explaining itself, for crying out loud.
But for those of us who had bought-in to their first disc, the follow up was a masterful epic that was a definitive work in every sense.
My sophomore year of high school, I found a great indie/emo band called Sky’s the Limit on Interpunk.com (oh, Interpunk…their website has never been updated, btw). I bought their only release, which was only released on a burned CD-R, and I was spellbound by the intricate guitar work, catchy rhythms, and soaring melodies.
So when I discovered Mae on an old Tooth & Nail compilation, I was attracted to them for many of the same reasons. I bought this album, and was amazed to find a Sky’s the Limit song on it. It was only then that I realized that Dave Elkins was the lead singer and principal songwriter for both of them.
After spending most of my life vacillating between punk ethos and hipster snobbery, I’ve been trying to be a better poptimist. I’ve been trying to let go of my musical superiority complex and allow myself to enjoy vapid pop music.
And it doesn’t get much more vapid or poppy than Madonna herself.
If ever there was a post rock crossover pop hit, it’s M83’s Hurry Up, We’re Dreaming.
This record debuted at number fifteen on the Billboard Top 200. The bouncing single “Midnight City“, complete with a screaming saxophone solo, was ubiquitous. The group appeared on a number of late night talk show performances. Songs were played in commercials and movie trailers.
This is only made more impressive by the fact that it’s a double album by a band that made their name playing synth-driven drone music.
The last couple years, I’ve been noticing a trend of female singer-songwriters picking up electric guitars and coating their otherwise gentle compositions with thick layers of doom metal and shoegaze (see also: Chelsea Wolfe, King Woman). It’s a simple enough formula, but it works, and I am here for it. Continue reading
Throughout her career, M.I.A. has always been ahead of the curve—and the curve wasn’t always ready for her.
When she released MAYA eight years ago, it was heavily criticized for its YouTube-inspired album art and the digital chaos that created the musical landscape. Little did we realize how prescient it actually was. Continue reading