Animal Collective put the hip-pie in hip-ster, so why was the Orlando audience so ornery? S D Green ponders the lack of love at the concluding date of the band's recent tour with Black Dice.
The first ever Nashville Recording Workshop & Expo attracted members of the music industry eager to test out new gear, network, and get some tips from the pros. Elianne Halbersberg was on hand, taking notes.
Even with only two original members remaining, New York Dolls still dazzle, as Jen Cray discovered at a recent Orlando show.
There certainly was no sex, drugs, and rock 'n' roll party at the House of Blues as the almighty Queensryche forced fans, and Chris Long, to bask in their eternal greatness.
One of America's best live bands, Wilco, try not to overextend themselves as they work out the kinks on the first date of their current U.S. tour. Sean Slone caught the beginning of the long, hot trek in Cincinnati.
Whether you are a fan of quirky detectives and wacky coincidences, or in-depth investigations with detailed forensic analysis, Acorn Media probably has a British mystery set that will appeal to you. Joe Frietze is here to take a look at four of their newest releases.
Gail Worley gets the definitive interview out of Secret Machines' feisty drummer Josh Garza. She calls them a grunge Be Bop Deluxe, but in a good way.
The English Beat refuses to die with the '80s. Ink 19's Robert M. Sutton chats with The Beat's Dave Wakeling about the early days of the 2-Tone ska revival in England and the challenge of taking the past back into the future.
Absu (Candlelight). Review by Matthew Moyer.
A Tribute to the Songs of Kath Bloom (Chapter Music). Review by Rod Leith.
Susan Storm's Ugly Sister and Other Saints and Superheroes (Cutthroat Pop Records). Review by Tim Wardyn.
Does You Inspire You (Columbia). Review by Matthew Moyer.
Genius: The Ulitmate Collection (Concord Music Group). Review by Phil Bailey.
Dirty King (Silver Label). Review by Jen Cray.
Summer of Hate (Fat Possum). Review by Matthew Moyer.
Spirited Migration (At A Loss Recordings). Review by Matthew Moyer.
Dream Home (No Idea). Review by Jen Cray.
Blood and Ashes (Regain). Review by Matthew Moyer.
Super Animal Brothers III (Car Park). Review by Matthew Moyer.
Burn Up & Shine (Frankly Mills Record). Review by Carl F Gauze.
All The Colors (Subtitled Audio). Review by Carl F Gauze.
Poseidon and the Bitter Bug (IG Recordings/Vanguard Records). Review by Tim Wardyn.
A Picture of Me - Nothing Ever Hurt Me (American Beat Records). Review by Matthew Moyer.
A Tribute to Doug Sahm (Vanguard Records). Review by Tim Wardyn.
Visions LTD EP (Gigolo Records). Review by Carl F Gauze.
Crazy (Nervous Records). Review by Carl F Gauze.
Concrete Class (The Control Group/In Music We Trust). Review by Tim Wardyn.
Winter Hill (Nickel and Dime). Review by Jen Cray.
Invisible Cities (Ubiquity). Review by Aaron Shaul.
Ten (Legacy Edition) (Epic Records). Review by Tim Wardyn.
Spoils (Drag City). Review by Aaron Shaul.
History Elevate (Fabric). Review by Kiran Aditham.
The Sea, The Sea (Self-Released). Review by Andrew Ellis.
Way Up on a Mountain (Rebel Records). Review by Tim Wardyn.
Starflyer 59 - Ghosts From the Past
Dark Days/Light Years (Rough Trade Records). Review by Tim Wardyn.
Helvete - Det Iskalde Mørket (Candlelight). Review by Matthew Moyer.
Three women deal with stray dogs and dysfunctional relations, then one of them dies and everyone else cries. Obviously, Carl F Gauze isn't feeling Maggie Estep's new novel.
With 1,500 or so books about the Fab Four, a meta-reference work would come in handy. However, Sean Slone comes away disappointed with the tome's lack of a critical eye.
Greg Prato's new oral history of Seattle music (or "grunge" to you and me, bucko) strikes the right balance between bratty humor and pathos, thinks Matthew Moyer. And was the bassist from Guns N' Roses really in the Fastbacks? Read on,,,
Matthew Moyer finds Hawkman Companion's artwork to be its redemption.
In light of the recent charges levied against Jammie Thomas-Rasset in the RIAA's case against her, we've unearthed this review on Steal This Music, a book concerning the history of copyright in music.
Nowhere does the line between Fantasy, Reality and Comedy blur more than in the music industry. Carl Gauze reports on the pseudonymous Mixerman's journal of one album gone quite wrong. Or quite right, for the reader at home.
Martin Atkins imparts the wisdom of several decades worth of punk rock self-sufficiency into one book. Except for predictable sections on sex and drugs, Rob Ward is impressed.
This reissue of Chris Marker's epic documentary about the rise (and fall) of Communist ideals in the 60s and 70s shows Carl F Gauze the dangers of blind faith in anything, be it a person or a theory.