There’s a universal understanding in communication that hooks are imperative. Without a solid introduction, few, if any, will stick around to hear what you’ve got to say. Don’t expect people to pay attention to your speech, or watch your film, or listen to your album, if you don’t open your work with enticement. Above all, the beginning is an indication of what’s to follow. So what was to be expected when Goodness opened to a cold reading of a poem about naturalistic symbolism, spoken so nasally and uncomfortably delicate that it recalls reading in front of a group of peers you aren’t yet familiar with, struggling to find your real voice against the nerves masking it? Continue reading “Goodness ALBUM REVIEW”
It’s been over a decade since Apologies to the Queen Mary, Wolf Parade’s defining debut record, made waves at the height of the indie rock movement, encapsulating a time that would foreseeably never be recreated. In the time following, the landscape of music has changed, and with it too, have Wolf Parade. After the releases of At Mount Zoomer and Expo 86, both lying somewhat mediocrely in the aftermath of the debut, the band quietly deflated to the paralleled fall of the subgenre, dying, so to speak, with the birth of the 2010’s. But now, six years later, Wolf Parade have decreed a hasty rebirth with their fourth self-titled EP, a premature and unjustified declaration of returned cohesion and rejuvenated creativity. Continue reading “Wolf Parade (EP 4) EP REVIEW”
Where does our energy come from? Better hypothetical (and review introduction): Where does our energy come from in times of conflict? The routinely announced massacres and loss of innocence has hemorrhaged our ability to genuinely feel shock for the shocking. The flag residing at half mast has become a ceremony of expectations. And while America has been safer and less violent in recent years, the perceived safety and send of injustice is amplified. The voiceless haven’t found there voice, rather they’ve found the appropriate soap box from which to be heard. So when I feel bled of any feeling of loss, there still exists a mode of delivery where I can feel something, anything when I’m surround by the media’s parade of tragedy. Enter G.L.O.S.S.; the hardcore punk/d-beat outfit from Olympia, Washington. They emerge now, following up their astutely titled first EP Demo with Trans Day of Revenge, an heir to the long line of anarcho punk releases with an appropriate political backdrop. Continue reading “Trans Day of Revenge EP REVIEW”
Collect calls are dying, a bygone of the era of fax machines and telephone booths; something your parents dealt with that faded against the digital age; the social and communication equivalent of balancing your checkbook. Somewhere out there are people with a romanticized view of all of these outdated technologies, clinging to a simpler world that, to them, moves too fast, leaving them far, far behind. Somewhere out there, too, are people that have moved beyond what they once clung to, overcompensating with a flawed understanding of the now. In a way, 18+ paradoxically represent both of these schools of thought regarding the then and the now. Continue reading “Collect ALBUM REVIEW”
Hope there’s someone who’ll take care of me,
When I die, will I go?
For ANOHNI, née Antony Hegarty, half-measures are useless. For many fans of the songstress, the first words they ever heard did not question if death was a reality, but how her reality revolved around death. Her existence was postmortem; her songs detailed the observations and expressions of someone who connected to that existence. Every baroque ballad was soulfully examining sorrow to a degree that is as harrowing as it is difficult to imitate. Coupled with a completely singular voice that amalgamates the pain of the beatniks of the new millennium, Hegarty established herself as an auteur of chamber pop for the better part of the 2000’s. But again, ANOHNI has never been one for half-measures. For every crooning tune she created, a societal ill or political affair became a focus that she steadfastly riposted. Music was just a means for the marginalized to gain a voice. And HOPELESSNESS is not just the voice of the marginalized, it’s the recount of every transgression and abusive relationship the world can have with an individual who’s as perpetually heartbroken as ANOHNI. Continue reading “HOPELESSNESS ALBUM REVIEW”