Carl F Gauze reviews 19 movers and shakers we’ll miss in the New Year.

How does one make a book about Motorhead, hard-drugging and hard-thrashing metal godfathers, boring? Read on…

The history of teeny, tiny labels that launched some really big bands. Before the out-crowd became the in-crowd.

Two legendary blues men swapping licks and telling tales. It’s a shame it seems recorded at ten in the morning. James Mann let’s the music do the talking.

Delerium brings its spacey warmth to the 9:30 Club in this 2008 concert film. Carl F. Gauze knew he was saving those glowsticks for something…

After the Rain (Holy Cow Records). Review by Robert Sutton.

Danger Days: The True Lives of the Fabulous Killjoys (Reprise Records). Review by Jen Cray.

Why the repeal of DADT matters- to me - posted by James Mann on December 23, 2010 05:01

Christmas, Thanks For Nothing EP (Moshi Moshi ). Review by Matthew Moyer.

Various Artists (Armoury Records). Review by Matthew Moyer.

GOP pawns our national myth for $7.4 billion - posted by James Mann on December 20, 2010 07:37

Kevin Devine and Manchester Orchestra’s Andy Hull have joined forces as the gorgeously poetic pop group Bad Books, but fill their recent tour setlists with songs from their collective catalogs. Jen Cray enjoys the music, but yearns for an espresso or two.

Hello=Fire (Schnitzel Records). Review by Jen Cray.

Don Van Vliet, aka Captain Beefheart has died of complications from MS at 69 – now that’s some Low Yo Yo stuff. James Mann recalls a genius.

Four (The Major Label). Review by Sean Slone.

The Slider (Fat Possum). Review by Scott Adams.

How do you attract a comedian’s attention? For singer/songwriter Terry Carleton, you write a song about him. In this case, the celebrity is Pee-wee Herman, who Carleton has been trying to court with the Fab Five-fueled single, “Good Morning, Mr. Breakfast.” Will Herman ever hear the track, or will The Playhouse Gang give it a thumbs down? Carleton speaks to Robert Sutton about his own “Big Adventure.”

Tropsicle (Pretty Ambitious Records). Review by Laura Pontillo.

As part of Chicago’s Wrecking Ball Punk Festival, Voice of Addiction stood out in a sea of genre-defying punk rock. Chris Catania was wooed by their rowdy rhythms.