- Archikulture Digest
- October 15, 2019
A young girl finds love in the wrong place and ends up as a tree.
Diagrams Without Instructions (Hi Fi Alliance). Review by Jen Cray.
When At The Drive In split up, half of the band went on to critical success in The Mars Volta. The other half quietly slipped into a band just as worthy of praise, Sparta. Jen Cray stepped in to pay the band some respect.
Talking with Sienna DeGovia, vocalist/bassist for The Randies, is like chatting with a friend, as Jen Cray found out recently.
From The Casualties show down the block, Jen Cray rushed over to the much more relaxed atmosphere of the Tapes ‘n’ Tapes show, and finally found a band doing Indie Rock justice.
Touring in support of his latest album — a double CD no less — Frank Black takes the stage at the House of Blues in Orlando for a spooky Friday-the-13th set. Ian Koss, for one, is glad for the lack of Pixies covers.
Lesson #1 (In Music We Trust). Review by Tim Wardyn.
Jack White silenced the death rattle of rock music with The White Stripes and has gone on to ensure the future of modern music with The Raconteurs. Was there ever any doubt that Jen Cray would be at their Orlando show?!
The Loon (XL). Review by Jen Cray.
The Whigs have no affilliation with Greg Dulli’s Afghan Whigs, but Jen Cray found their 90’s Indie Rock nostalgia irresistible anyway.
Honeycomb (Back Porch). Review by Sean Slone.
A post-grunge double header, with Foo Fighters and Weezer. Jen Cray is awed.
Light, Sweet Crude (Leading Brand Records). Review by Kyrby Raine.
Tom Schulte hears the bad CDs so you don’t have to. Herein are paragraphs on the good ones.
Thank You Captain Obvious (Collectible Escalators). Review by Tim Wardyn.
Give (Columbia). Review by Carl Glaser.
After 11 years of not speaking to one another, the Pixies are back together and touring. The fans come out in droves, as the band sells out show after show, including a recent trip to Orlando. Jen Cray reports.
Smitten (Distracted). Review by Eric J. Iannelli.
To Force a Fate (Lookout!). Review by Daniel Mitchell.
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