Silver Scooter
The Blue Law (Peek-A-Boo). Review by Randall Stephens.
The Blue Law (Peek-A-Boo). Review by Randall Stephens.
The World Won’t End (Ashmont). Review by Randall Stephens.
Exit Now (File 13). Review by Randall Stephens.
Com Plex (Cavity Search). Review by Randall Stephens.
Treat Me to Some Life (File 13). Review by Randall Stephens.
Portland scenesters the No-No’s have been at the indie-pop-punk wheel since t…
Enfant terrible Kurt Heasley has gone through a number of musical inca…
Why a band like San Francisco-based Oranger is not on spinART is beyond me. T…
Dressy Bessy have cranked out their share of buoyant and comely indie-pop thr…
David Gedge, long famous as the frontman for the UK indie favorite the Weddin…
Although Merriment is credited to Vic Chesnutt and the Keneipps, it is…
Mollie O’Brien, a fixture in the bluegrass folk scene, presents 10 trademark …
Jason Hatfield’s group, Star Hustler, goes the trad-country route, with mando…
This is impressive. Although there are only four songs on this EP from Oldham…
One of the most interesting new labels on the indie pop scene is the New Hampshire-based Red Carpet Ring. Randall Stephens talked with label founder Paul Vittum to find out what’s new at the home of such bands as the Princeton Reverbs Colonial, My Place in Space, and Fablefactory.
Not only is Stephin Merritt one of the most revered songwriters around, he’s also one of the most prolific, with the massive three-disc 69 Love Songs and records from alter-egos the 6ths and the Future Bible Heroes out in just the last year. Randall Stephens caught up with Merritt in a rare moment between projects to try to catch up.
With connections to Dolly Mixture, St. Etienne, and Heavenly, Birdie emerges …
It’s a safe bet that if a band has the word “tron” in its name, then you’re i…
Hurrah is Versus’ first full-length on their new label, Merge Records….
Andrew Gonzales, the brains behind Marshmallow Coast, is into the lighter sid…
Twenty-three years after his Sonic Recipe for Love, Steve Stav writes a playlist for the brokenhearted victims of another corporate holiday: the first Valentine’s Day of the second Trump era.
Phil Bailey reviews Rampo Noir, a four part, surreal horror anthology film based on the works of Japan’s horror legend, Edogawa Rampo.
In this latest installment of his popular weekly series, Christopher Long finds himself dumpster diving at a groovy music joint in Oklahoma City, where he scores a bagful of treasure for UNDER $20 — including a well-cared-for $3 vinyl copy of Life for the Taking, the platinum-selling 1978 sophomore set from Eddie Money.
Ink 19’s Liz Weiss spends an intimate evening with Gregory Alan Isakov.
Sharon Van Etten & The Attachment Theory (Jagjaguwar). Review by Peter Lindblad.
This week, Christopher Long goes “gaga” over discovering an ’80s treasure: an OG vinyl copy of Spring Session M, the timeless 1982 classic from Missing Persons — for just six bucks!
Both bold experiment and colossal failure in the 1960s, Esperanto language art house horror film Incubus returns with pre-_Star Trek_ William Shatner to claim a perhaps more serious audience.
You Can’t Tell Me I’m Not What I Used To Be (North & Left Records). Review by Randy Radic.