• Aug 31, 2010
    In the thorny zone where art and commerce meet, the top-down model of production and distribution is quickly breaking down. The 20th century system with which filmmakers, authors, and musicians got their works to the people is in a frightening and thrilling state of flux. What's increasingly apparent is the weakening of the powerhouse studios, publishers, and labels that once controlled almost...
  • Aug 29, 2010
    Some concert films skip the foreplay and just get busy. They know what you want - to watch this artist A (Prince, Fishbone, Neil Diamond) perform live, but with you in your pajamas and all without leaving the living room. Quickly-pressed, For Fans Mostly films fall into this category, such as the made-for-HBO film Cher: Live in Concert (1999) or the KIDZ ONLY Doodlebops: Live in Concert (2008...
  • Aug 26, 2010
    If you’ve frequented this website over the past couple of years, you’ve no doubt noticed that we’ve instituted a slick new look of late. We’re pretty certain this is a change for the better, but music history has taught us that alterations that look great at first glance can be disasters in the long run, and vice versa. With that in mind, we took a look at a few acts that underwent artistic...
  • Aug 25, 2010
    Welcome to a world where errant nipples are pursued through the hot tubs of exotic locales by feral fuzztones, wanton wah-wah pedals, and decadent session musicians. Here’s some R-rated soundtrack fodder to impress the chicks, excite the lads, and keep you grooving All Night Long. Manfred Hubler & Siegfried Schwab - Vampyros Lesbos: Sexadelic Dance Party [Motel Records] An incoherent...
  • Aug 22, 2010
    R.E.M.’s Peter Buck is a wry, ironic sort of guy, and he’s a lot more cynical and funny than you might expect from the guitarist (and mandolinist?) behind moody compositions like “Losing My Religion” or the restrained but wonderful “Talk About the Passion.” In fact, he’s frequently self-deprecating in print, and a quote attributed to him after the release of the Green album in 1989 and the...
  • Aug 31, 2010
    When it comes to new music, reviewers and music lovers are fickle and faddish people. We love the “next new thing” - the record that changes the landscape, the band that goes out on a limb and comes back with something amazing. And well we should! But not every record can be game-changing: many albums, while they don’t necessarily break the mold,...
  • Aug 27, 2010
    Canadian trio Plants and Animals call their music “post-classic rock” and it’s a telling choice. In the first place, they are indeed trapped in days of boomers past. And in the second, as the phrase indicates, they are significantly less clever than they think they are. Not that La La Land (a cloyingly stupid name, I’d add) is terrible. If when...
  • Aug 26, 2010
    The Toadies have been around forever — since 1989, at least, which at this point qualifies as forever. After breaking up in 2001, they reformed late in the decade; the newly released Feeler is the second album by Toadies 2.0. Originally recorded in 1997, Feeler was supposed to have been the follow-up album to 1994’s popular Rubberneck; however,...
  • Aug 25, 2010
    UK singer-songwriter Laura Marling doesn't constrain her folk songs to the influences of her homeland. Her sophomore album, I Speak Because I Can, betrays hints of rustic Americana as well. Since Appalachian folk music grew primarily from British and Irish ballads, jigs, and reels, Marling's blurring of traditional borders here actually brings...
  • Aug 22, 2010
    Look Mexico’s sophomore effort, To Bed To Battle, is a rock album filled with poppy, catchy songs that combine a melodic indie sound with tight songwriting and judicious instrumentation. Look Mexico does a good job of keeping simplicity in mind, drawing inspiration from pop-punk and emo-ey bands as well as more traditional rock. However, by...
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