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Oct 05, 2010 Music The Sword

The third album by this Texas metal quartet is a sci-fi concept album. If you can get past the thematic silliness, the album is a hell of a trip. If not, you’ll be better off waiting for The Sword’s next album.


Oct 04, 2010 Music Web Exclusive

When one thinks of obscure ‘60s psych rock, one seldom thinks of Illinois. But Spur was the Midwestern gem that could stand toe-to-toe with the greats of the era, mixing psychedelia, pop, countrified jangle, and straight up rock and roll.


Oct 01, 2010 Music Mark Ronson

The past few years have seen Mark Ronson skyrocket into the higher echelon of producer/DJ/soul/dance music pioneers.


Sep 30, 2010 Music Web Exclusive

With at least a half-dozen “best of” compilations dedicated to collecting Dick Dale’s red hot guitar licks, do we need another? Probably not, but I certainly welcome any chance to reacquaint myself with one of the most incredible and influential guitarists of all time.



Best Friends?


Sep 29, 2010 Music Web Exclusive

With its fourth album, Brad continues to be an under-appreciated band. Perhaps Best Friends? will change that.


Sep 28, 2010 Music Web Exclusive

On a day that hundreds of people walked past junkies in a New York park and barely registered their presence, David Cross may have been the only one to see the humor in the heroin-enhanced citizens’ determined ability to remain upright at all times.




Thrill Jockey

Sep 24, 2010 Music Oval

The music of Oval seems constructed to be wildly polarizing to its listeners. Fans will likely consider Oval’s new two-disc O to be their magnum opus, while others might label a full run-through to be a maddening endurance test.


Sep 19, 2010 Music The Walkmen

It’s hard to forget the frenetic, desperate energy of The Walkmen’s breakout album, 2004’s Bows + Arrows, when listening to just about everything else they’ve recorded.


Sep 17, 2010 Music of Montreal

“You fetishistize the archetype,” of Montreal ringleader Kevin Barnes chides on track “Like a Tourist.” Perhaps he’s scolding himself. On False Priest, Barnes once again calls on the cabaret king archetype he’s carefully constructed over the past nine albums, inhabiting the role of glitter-dipped, master of ceremonies with the ease of an old shirt.