White Hot Moon Score

As a wide-eyed teenager yearning for escape from suburbia, I often accompanied older friends on their treks across the highway to the University of Michigan campus, where we would check out hardcore shows put on by a fraternity un-ironically known as “the Metal Frat”. Although not always into the youth crew bands playing, immersion into a “scene” was magnetic, even for those brief, fleeting semesters. It was there that I saw Pity Sex play their first show, while possibly still part of the UofM student body. Sans co-vocalist Britty Drake, guitarist Brennan Greaves and the rest of Pity Sex mirrored their brand of 90’s throwback rock through their stage presence at the time – timid and unassuming, yet quietly unique. Since then, Pity Sex have transcended hometown hero status, revered on next gen pop-punk label Run for Cover Records for their blend of typical emo song structures with the tonal bite of 90’s SST Records. On their newest full length though, White Hot Moon, Pity Sex have come fully into their own, ditching emo entirely in favor of greater indie-pop and garage-rock tendencies and thus presenting a more tastefully balanced record.  Continue reading “White Hot Moon ALBUM REVIEW”

Too Many Voices ALBUM REVIEW

Too Many Voices Score

Andy Stott has always been a little experimental, but Too Many Voices is where he finally dives head first into the abstract electronic pool. With a name like Too Many Voices, one would expect a wealth of crazy minimal and techno experiments – but that’s not quite what’s on offer here. In fact, most of the tracks feel so minimal to the point of being unfinished. That’s not to say they are all unenjoyable – but Stott seemed to forget that half the point of creating experimental music is too push the boundaries further, rather than dial them back so far they lose any semblance of interest.  Continue reading “Too Many Voices ALBUM REVIEW”

The Impossible Kid ALBUM REVIEW

The Impossible Kid Score

The Definitive Jux record label was a beacon of light in the alternative and underground hip-hop scene of the 2000’s. Aesop Rock was the most notable rapper on the label, frequently collaborating with many other artists on the label. However, cofounder and CEO of this label, Jamie Meline, known better by his stage name, El-P, announced the hiatus of the label in 2010. In the Def Jux glory days, Aesop Rock was featured on a majority of the records released by fellow “Jukies.” But following the end of Def Jux, Aesop veered towards more personal projects. 2012’s Skeleton marked the first record Aesop solely produced himself, with marginal success to be had from it. The features on that record were kept to a minimum, with no other rappers contributing any verses. Aesop goes back to this design model on his latest record, The Impossible Kid, giving new life to an old idea.  Continue reading “The Impossible Kid ALBUM REVIEW”