Reviews

Not to be confused with the heavy metal band that shares the name, this Wayne is an alternative pop/rock group riding the wave of the current onslaught of the British Pop rejuvenation that has become a dominant force in music, again.   While the band is based in Birmingham Alabama, Wayne has drawn resemblance to bands such as Coldplay and Travis with their notable debut, Music On Plastic; however, despite the fact that there are some similarities to an Oasis-esque/ Brit-Pop Continue Reading

A tinkling drama-drive piano might not be the most salient move ever for a five-piece pop-punk outfit to thrust out of the mix – but believe it or not – if it wasn’t for this wee embellishment, the SoCo’s would naturally run the risk of being obscured by the sheer teeming plethora of emo-charged punk core bands on the block. The latest in batch of pop-smart, radio-ready young rockers being manicured to teen perfection by MCA and Drive-Thru Records, Something Continue Reading

In going with the typical Conor Oberst, this is music that makes you think. No, it doesn’t call for you to run in front of the oncoming subway train in a hasty fit of depression, as does his continuing work in Bright Eyes, but it sure makes me contemplate setting fire to the new city developments in protest of the mass industrialization of our country.    We all know the story…out goes mom and pop’s coffee shop, in comes thirteen Continue Reading

With an obvious appreciation for junkyard noise poet Tom Waits’ approach to song construction (using peculiar instruments and idiosyncratic and metaphoric lyrics), the release of Sharpen Your Teeth by reluctant pop star Ugly Casanova, is another remarkable discovery for Seattle based Sub Pop Records. The Washington based Emo band Modest Mouse first noticed Edgar Graham a.k.a. Ugly Casanova in the summer of 1998.  Showing signs of psychological unevenness that endeared them to him, the trio invited Casanova to tour.  While Continue Reading

These boys perpetuated an adequate amount of internet chat room gossip after their inexplicable-albeit short-lived-hiatus a few years ago. The drummer packed up and left for Berlin, and two other members hit Denver for whatever reason. They missed one another enormously though, and a few tear-stained letters went back and forth. Now the Bloodlet legacy has come back to embalm any “nice“ bands they get booked now with as they tour the planet relentlessly. Promoters, you have received your official Continue Reading

As it happens, DJ/producer Fusion spent some four years writing for black music mag Echoes learning all the ins and outs of the trade without breaking so much as a sweat, never mind his or anyone else’s ass. Fallacy on the otherhand still works as a bouncer. And it’s at this point that we find them, straddling the ever increasing divide between London music and UK garage. Not that this is UK garage, you understand – just that it has Continue Reading

Dover born brothers Paul and Ross Godfrey make up the hub of this two boy, one girl outfit. First coming under media spotlight way back in 1995 with the single, Trigger Hippie, from their China released album, Who Can You Trust? Cautiously dubbed trip-hop by some, they were inevitably associated with the then zen like torchbearers of downtempo, Portishead. Slow pulsating beats, yes – existential, noir inflected cinema beatsters, no. And this really only goes to prove it. Moving away Continue Reading

You’ll know Dot Allison, whether you think you know it or not, as the perfectly sweet angelic foil to Death In Vegas’ dour military-esque drive on ‘99’s epic soiled diamond of a tune, ‘Dirge’. Before that, in hazy early 90s acid-house days she gave vocals to scene pioneers One Dove. Her debut solo album, out in ’99 on Heavenly, kind of got lost in the slipstream and the Death In Vegas collaboration may have done criminally less for her than Continue Reading

Changing direction without losing the core of your audience is perhaps the most difficult thing to do in music (The Beatles and David Bowie notwithstanding).  Another feat, which is tricky at best, is to turn out a techno/house record that will somehow be unique; even the Chemical Brothers last attempt was somewhat comprised of past efforts and previous formulas.   Daniel Ash attempts to do both on his third solo self-titled album. Being the one time Bauhaus guitarist, as well as Continue Reading

Far from being the self-indulgent clutter of oddsamples from ancient vinyl, bizarre conversations, and the occasional cool beat, this 1997 album is a break from the more serious side of Paul Huston (if you could consider Te Gravediggaz, or, really, anything else he’s done to be overtly somber). I think “Psychoanalysis“ was intended more as a release-valve of sorts for him, a way to entertain some of his funkier fantasies. There’s a very light-hearted feel throughout the seventeen tracks here, Continue Reading