- Music Reviews
- January 22, 2021
Tell Me How You Feel. Review by James Mann.
The Gaslamp Killer earned his nickname by ruining the vibe of clubs in San Diego’s Gaslamp district with his incongruous DJ sets, so we must conclude those clubs were lame.
The world of Khruangbin is made up of velvet sunsets, shimmering dunes, and cool river rocks. There’s also a guitar, some drums, and a bass. And lately, vocals.
Habibi is what happens when you spill solvent on the psychedelic garage / surf music / girl groups section of your record collection.
Double Date With Death are loud and Canadian, and they don’t care if you don’t understand their French howling. They have a double date to get to.
Malfunction. Review by Christopher Long.
Songs for Unsung Holidays (Smog Veil). Review by Bob Pomeroy.
Peoria’s power-pop purveyors teleport coast-to-coast on extensive U.S. “Invasion” tour.
The Vans Warped Tour is as much a summertime tradition as vacation flings, sunburns, and losing your bathing suit at the beach for music fans of all ages, Jen Cray among them.
Anti-Hero (I’m Single Records). Review by Carl F Gauze.
Order of Operation (Goner Records). Review by Jen Cray.
Devo’s 2014 “Hardcore Devo” tour showed them going back to the days before Energy Domes, hit singles, or hope of radio airplay; back to the days of like-minded weirdoes banging out songs in the basement.
_hello world (Hakatak). Review by Carl F Gauze.
Collection of Devo’s live performances and videos from the late ’70s and 1996.
Enjoy the Science: Tribute to Depeche Mode (). Review by Michelle Wilson.
Nanobots (Idlewild). Review by Eric J. Iannelli.
Whatever (Moshi Moshi Records). Review by Carl F Gauze.
Sin Sin Sin (Rodriguez Lopez Productions). Review by Laura Pontillo.
The legendary creative force that is Brian Eno is detailed in this long overdue and fascinating documentary.
Soul music erupts in a renovated bowling alley in Brooklyn.
Larry “Wild Man” Fischer went from paranoid street performer to the “Godfather of Outsider Music.” Derailroaded captures the fine line between madness and art, but James Mann wonders — at what cost?