Music

This is a decent hardcore record – raw, energetic, and full of bile – but there’s nothing distinctive about it, which is disappointing, given the involvement of Daughters alum Lex Marshall. Still, if you’re in the mood for a quick hit of throat-punching hardcore that sticks to the playbook, you could do a lot worse.

To intellectually understand what Colin Stetson does, or to see or hear a recording, won’t prepare you for his incredible live performance.

Go away, Justin Vernon. Just… C’mon, just go away. People are trying to make good music here.

I make no demands of Billy Bragg to return to the fiery protest songs of his youth, but he sounds so world-weary on this album, it’s kind of disheartening. Whether he’s waving off the very notion of progress (“No One Knows Nothing No More”) or confessing that he has nothing left to say (“Goodbye, Goodbye”), his lyrics and their delivery often sound utterly defeated. However, glimpses of his fighting spirit (“There Will Be a Reckoning”)… See more →

Enjoyable enough, to be sure, but almost every song overstays its welcome. A pop album with an average song length north of seven minutes is overconfident even for a juggernaut like Justin Timberlake.

Just got tickets for pretty much the best possible seats to see @lowtheband at @NyseC in March.

Oh, just seeing my favorite band (@lowtheband) with my favorite person (@ChamberMonster). No big deal.

Great room. Great sound. Great set list. Great band. My eighth @lowtheband show in eleven years was the best one yet.

Another excellent @wussymusic show last night. So nice to see great music performed with such honest joy.

Everything happening musically in the verses is way too similar to Metallica’s “Phantom Lord” to be a coincidence. Plagiarism or homage? (I’ve always had the same questions about the similarities between Metallica’s “For Whom the Bell Tolls” and Angel Witch’s “Angel of Death,” which came first. I suspect homage in both cases.)

Is there a more gleeful song about statutory rape? Wait, don’t answer that.

There are a few good ideas in here, but far too much sprawling, self-indulgent experimentation to recommend this album. However, assuming the band had to get this out of its system in order to later find itself on the excellent The Besnard Lakes Are the Dark Horse, then I’m glad Volume I exists. But I probably won’t listen to it again.

During a recent discussion about karaoke, I confessed that one of my favorite songs to sing when it’s available (which is more often than you’d think) is “Too Drunk to Fuck” by the San Francisco Bay Area punk legends Dead Kennedys. Virtually no one is expecting to hear it, and it elicits precisely the sort of slack-jawed amusement and/or horror I like to see in a karaoke audience.

My friend Tyler, who was a Bay… See more →

I recently saw the band Swans live for the second time. They were promoting a stellar new album (The Seer) which essentially encompasses all of the varied and challenging music that bandleader Michael Gira has made under a few different monikers over the last thirty years. In the two years since I saw them last, I had gotten to know their oeuvre better, and coming to this show with a more educated ear paid off.… See more →

On the early Rush albums, Geddy Lee sounds kind of like Janis Joplin.

With all manner of unnecessary vitriol flying to and fro, social media can be a nasty thing during an election year like this one, but the most unfortunate thing I’ve seen in my social graph lately had little to do with politics. It had to do with punk rock, and a friend’s expressed preference for The Misfits’ post-Danzig era; that is, the seminal horror punk band’s mercenary reformation without its creative mastermind, Glenn Danzig, more… See more →

Maybe because Yanqui U.X.O. didn’t really do it for me, I never really pined for new GYBE material after they went on hiatus. And that makes the unexpected appearance of this stellar album ten years later all the more pleasant a surprise.

I recently saw the band Swans live for the second time. They were promoting a stellar new album (The Seer) which essentially encompasses all of the varied and challenging music that bandleader Michael Gira has made under a few different monikers over the last thirty years. In the two years since I saw them last, I had gotten to know their oeuvre better, and coming to this show with a more educated ear paid off.… See more →

I hope this means we can look forward to a 25th anniversary edition of Weird Al Yankovic’s Even Worse next year.

The transition between “Back Where I Belong” and “Sea Lungs” sounds kind of like a dystopian sci-fi re-imagining of Van Halen’s “1984.”

For a 6:30 p.m. show with five bands on the bill and no food for sale, you might want to reconsider your “NO RE-ENTRY” policy.

Thrill Jockey anniversary show last night was the most eclectic I’ve seen in ages. I loved Future Islands fans being made to endure Liturgy.

While I’m still probably not going to be a fan, holy crap does that Future Islands singer guy own the stage.

Dear Frances Bean Cobain,

First of all, it was lovely having lunch with you, even if you did get a bit confrontational at the end there. I’m glad I woke up before I could rebut, because a cooler head has shown me that your assessment of my taste in music, if incomplete, was remarkably astute. Dark themes, deceptively simple songwriting, played loosely but with discipline. You kind of nailed it. And even if you didn’t,… See more →

I have long been skeptical of music subscription services like Spotify and Rdio. What serious music fan would pay a monthly fee to have a remote, fallible gatekeeper between himself and a woefully incomplete music catalog? To forsake my personal collection in favor of that system would be like dumping a lifetime’s worth of home equity to move into a rental apartment in a gated community. That’s what people do when they’re getting ready to… See more →

The only thing keeping this from being another uninspired, cloyingly sentimental throwback synthpop record is the over-the-top vocal theatricality. The borderline ridiculous vocals lend it a peculiar honesty that makes it a more engaging listen, but it is otherwise so reliant on its well-worn retro template that I’m not sure I’ll be back to listen again.

Last month, I expressed some concerns about remix culture and the questionable value of much of its output. Shortly thereafter, as if in response, the juggernaut of skewed pop music known as Beck revealed that his next album, Song Reader, will be released exclusively as sheet music.

The songs here are as unfailingly exciting as you’d expect from their author, but if you want to hear “Do We? We Do,” or “Don’t Act Like Your Heart… See more →

Tonight, my glasses spent about twenty seconds on the floor of a crowded and rowdy Bowery Ballroom. Then they were returned to me, unharmed.

Scowling crust punk girl who just walked past the line for the Wussy show: “Is Cher playing tonight?”

I can appreciate doing a cover that’s a nod to your roots, but compared to the original Buzzcocks version, this is really limp. If they had to do it, it would have made a better B-side than an album closer.

This is such a great, soulful performance of a beautifully devastating song, and then the idiotic audience deflates the whole thing by clapping along like trained monkeys.

The “Daughters of Triton” cutoff haunts me. How would Ariel have continued the song? Get on it, fan fictioners.

Ours is an age of cultural cannibalism. We have rather suddenly gained very convenient access to nearly the whole of human history’s significant creative output, and we are remixing it with careless abandon. We have introduced The Beatles to Jay-Z, Jane Austen to George Romero, and Abraham Lincoln to Bram Stoker. If something gets a modicum of attention online, it can count on being Photoshopped, captioned, auto-tuned, GIF’ed, pickled, bronzed, or arranged for ukulele and… See more →

It is an election year, and as our president and other political incumbents across the country dust off their dirtiest tricks to retain their posts, so too do our returning regional air guitar champions. Of our first six cities this year, only Portland and Boston are sending new blood to the finals, and neither of their winners from last year returned to defend their titles. So as we pulled up to Washington, DC’s legendary 9:30… See more →

Boston’s air guitar faithful assembled at Brighton Music Hall on Friday night. They came to talk loudly over the judges’ commentary, and they stayed to marvel at performances that were by turns inspiring and reviling.

The air guitarists of Boston have long toiled fruitlessly in the glittery shadow of four-time champ McNallica (Erin McNally), whose charisma and fire was insurmountable even on the rare occasion she faced a worthy challenger. But with McNallica’s retirement came… See more →

There are two things that make New York City one of the toughest markets in US Air Guitar:

1. The staggering amount of top tier talent, both local and imported, and
2. The Daily Show’s Jason Jones, whose commentary has reduced all but the most thick-skinned competitors to quivering heaps in the backstage bathroom.

Alongside ACLU lawyer Ben Wizner and music biz free agent Leigh Lust, Jones returned on Thursday night to his perch in the… See more →

The Duke of Nothing’s gravelly tough-guy vocals are just the sort of thing you’d expect from a band like Turbonegro, which makes me appreciate former singer Hank von Helvete even more. I hadn’t realized it before, but his shrill, somewhat nerdy exuberance had a lot to do with what elevated this band beyond the sum of its parts.

Best song title of 2012 so far? I think so.

I’ve never been more than a casual GBV fan because their discography is too huge and uneven to sift through. In all my scattered listening over the years, I never realized how many great songs they made, even though I recognized most of the stuff on here. And I guess that’s exactly what a best-of collection is supposed to do. So, bravo, Matador!

It just occurred to me that this is Van Hagar’s attempt at a Beatles song.

It is not unheard of to make an album defined almost entirely by extreme dynamic shifts, but it can be difficult to make it work. The problem with this album isn’t necessarily that metalcore and drone require mutually exclusive moods, it’s the trouble of getting them to dovetail well, and the mechanically alternating sequencing here prevents that from happening. The odd tracks float and the even ones stomp, and as soon as you get to… See more →

This song was first recorded in 1998, intended for Quicksand’s third album, which was never completed. I’m surprised it didn’t wind up on the first Rival Schools album (as “So Down On” did, also from those Quicksand sessions), since it would have been right at home there.

Um holy shit Refused.

I usually scoff at remasters, preferring that musicians just let their original documents stand, warts and all, rather than engaging in technology-driven revisionism every ten years or so. But I have to admit they did a nice, unobtrusive job here with the Smiths catalog, cleaning things up without interfering with the spirit or balance of the original recordings. The one piece that does sound markedly different is Rank, the live album, whose new mix sounds… See more →

All @mSutters ever wanted from an @AndrewWk show was a bloody nose, and now I have given it to him.

Nearly twenty years later, it still blows my mind that this album was Primus’s commercial breakthrough. Not just because it is (still) the most bizarre, least accessible thing they’ve released, but also because it is a genuinely unsettling permutation of their sound. Primus’s efforts before and after touched on a variety of moods, but at the end of the day, the band was always best described as “quirky,” if only for lack of a more… See more →

For no good reason, I pretty much left Larsen for dead in 2003. I’m so glad to see they’re still making worthwhile music that is very much their own. The cryptic tension at the core of their sound is now tempered with moments of relatively conventional beauty, which makes for a more dynamic and engaging record than Rever, where I left off all those years ago. Some songs drag a bit, and others demand your… See more →

My new favorite Drake lyric: “In this bitch all drinks on the house like Snoopy.”

The original get-off-my-lawn anthem.

Dat Politics are at their best when their laptops speak for them, but vocals have had an increasing presence in their shrill digital attack ever since 2002’s Plugs Plus. The vocals work to great effect when they are approached as just another element to be sampled and rearranged for rhythmic or textural effect, but when employed in the service of actual lyrics or melody, Dat Politics’ vocals aren’t up to the task (Gaetan C. Collett… See more →

When I first heard that most of these songs had their origins as castoffs from David Lee Roth’s original tenure with the band, I rolled my eyes. But after hearing the album, I realized what a smart move it was. With Dave back in the fold after nearly thirty years (though sadly not Michael Anthony), dusting off old, unused songs was the closest they could come to picking up where they left off at the… See more →

For some reason, it’s only every few years or so that I remember how great Meshuggah is. I guess that would explain why I never picked this one up, which was a mistake since it is easily the best thing they’ve done since Chaosphere. Obzen is a great example of what Meshuggah does so well: ridiculously complicated, dense metal whose bludgeoning, mechanical constitution belies the very human energy that delivers it. Stellar stuff.

One of Thin Lizzy’s biggest and most recognizable strengths was always its twin harmonic leads, and they’re all but abandoned on Thunder and Lightning. From that angle, Lizzy rookie John Sykes’s guitar hero grandstanding says he isn’t a team player, but it’s hard to deny that his superhuman soloing is the most engaging aspect of the album. This isn’t close to Thin Lizzy’s best or most representative work, but it’s not its worst, either.