Author: Rob Moura
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Spectreview: St. Vincent – Daddy’s Home
St. Vincent's new record, which mixes gorgeous production with 70's sleaze, finds Clark's usual adept songwriting undercut by an overcommitment to pastiche.
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Seattle Is Burning: Danny Denial Speaks On BAZZOOKA Webseries
The multimedia Seattle artist talks about the challenges of filming under lockdown, the legitimacy of low-budget art, and the goal of platforming the city's underground BIPOC art network.
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INTERVIEW: Hey, ily!
Caleb Haynes, the force behind Hey, ily!, talks about the project's new EP and about breaking genre boundaries.
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Spectreview: The Mighty Mighty Bosstones – When God Was Great
The Mighty Mighty Bosstones pick it up once again in the nostalgic, joyful When God Was Great.
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Spectreview: Origami Angel – Gami Gang
In Gami Gang, D.C. duo Origami Angel blend different generations of youth together into a hyperactive rush of pop-punk and emo.
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Spectreview: Skee Mask – Pool
Skee Mask's Pool expands on the ambient/breakbeat fusion of 2018's Compro with a longer, more diverse collection of engaging locales.
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Retrospectreview: Lost Grunge Progenitors Bam Bam Don’t Deserve Obscurity, and “Free Fall From Space” Is Proof
Free Fall From Space, compiled from songs recorded in 1984 at Reciprocal, showcases Bam Bam's peculiar proto-grunge power and Tina Bell's masterful command of the mic.
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Spectreview: The Armed – ULTRAPOP
The Armed's ULTRAPOP is brilliantly variegated heavy music that begs (ironically) to be isolated from the enigmatic band's promotional antics.
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Spectreview: Tyler Holmes – Nightmare in Paradise
In its restrained yet visceral approach to catharsis, Tyler Holmes' Nightmare in Paradise transcends labels and cuts straight through to the core.
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Retrospectreview: Eight Years Later, m b v is Survived Only By Memories
m b v, My Bloody Valentine's long-awaited follow-up to their genre-defining Loveless, was unavoidably killed by its own hype.