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(11/18/21 4:04pm)
There are a few reasons as to why the evolution of rock music has yielded some of the most influential, creative, and unique albums and artists of any genre. Whether it be for the simple fact that rock music sees no instrumental bounds, can be enjoyable in any context, and can be independent from or wholly dependent on technology and electronic production, it is undeniable that rock music is a constantly changing spectrum of sounds and emotions filtered through the lenses of different musical geniuses throughout the last 100 years. Of all the genres and subgenres contained within the realm of rock music, few have as distinct of a sound as shoegaze. Dubbed “shoegaze” due to guitarists and singers being known for standing in one spot, sometimes staring at the ground or “shoe-gazing” for the majority of a show, the layered, fuzzy, reverb packed guitar tracks, pounding drums, and touches of ambient synth make this a timeless form of rock music since its original conception in the late 80s and early 90s. With major pioneers of shoegaze-like instrumentation dating back to the 60s with creative minds like Lou Reed, Iggy Pop, and the Beatles, followed by the sounds and styles of The Cure, Sonic Youth, and Dinosaur Jr., and eventually brought into true form with groups like the Cocteau Twins and the Jesus and Mary Chain, it is debatable if any band captured the true essence of shoegaze-rock better than My Bloody Valentine.
(10/14/21 2:52pm)
The best way to describe By the Time I Get to Phoenix is as a smoking room in a burning house. In their first album since their self-titled record in 2019, Injury Reserve deviates from their normal high energy rapping to create an album that twists that structure into a claustrophobic, intense expression of grief. It would be difficult to discuss this album without mentioning the loss of band mate Stepa J. Groggs. Groggs was one third of Injury Reserve since their founding in 2013. Expectedly, this loss has taken a toll on the group, and this can be felt in every aspect of this album. From the lyrics to production, By the Time I Get to Phoenix utilizes music’s capabilities to fully immerse the listener in the mental state of Injury Reserve’s members.
(10/04/21 5:48pm)
(09/14/21 12:07am)
The wait is finally over. Quintessential indie-rock outfit Modest Mouse released their seventh studio album, The Golden Casket, on June 25, 2021. The highly anticipated project consists of 12 songs and is just a hair over 50 minutes in length, a bit shorter than most of the bands previous releases. Front-man Isaac Brock and drummer Jeremiah Green, the two remaining members of the original trio, are back full force with their ensemble of other instrumentalists, some new and some old, in addition to a world of new sounds and song concepts. This is, by far, Modest Mouse’s most unique and colorful sounding album to date. The use of synthesizers and a wide range of other electronic instruments gives a majority of the songs on this album a much fuller, more vibrant sound than anything the band has released as of yet. While many critics and casual listeners are struggling to see how The Golden Casket can hold up to the likes of the bands earlier, more well known releases such as the beautifully haunting concept album, The Lonesome Crowded West, or the record that came 7 years later, Good News For People Who Love Bad News, including essential Modest Mouse songs that really put the band on the map in the mid 2000’s and even landed them a Grammy nomination for Best Alternative Album in 2004. With all of that said, let’s break the album down and discover why it could be their most bold and interesting release so far, and what it could mean for fans in the future.
(05/01/20 8:19pm)
Nick Prosper’s album ‘doomsday’ is an album of the times, focusing on love and keeping sane while being forced to stay inside due to the pandemic. Stylistically, the sounds change from track to track while keeping the album’s moody tone present in each song. The style, however, is where this album really excels. The subject matter of each song matches up with the genre Prosper uses on it, keeping the project interesting and never stagnant.
(01/16/20 8:07pm)
(02/01/19 11:05pm)
(08/28/18 6:26pm)
WeDidIt Records
(04/03/18 5:00am)
Courtesy of CarSeatHeadrest.Bandcamp.com
(04/05/18 6:44pm)
Image courtesy of Communicating Vessels
(02/24/18 6:00am)
Black Panther: The Album is exactly what was needed this February. This movie soundtrack was produced and written primarily under Kendrick Lamar’s supervision on TDE/Interscope records. It has intense swelling emotional songs such as "Pray for Me" and "All the Stars" while still managing to have solid club hits like "X." This album has something for fans of anything from trap to trance RnB and with heavy guest hitters like SZA, The Weeknd and ScHoolboy Q, this movie soundtrack is guaranteed to have someone on there that you’re a fan of. All in all, this album is a great project that would be a smash hit even if it wasn’t tied to Marvel’s newest box office hit
(02/23/18 6:00am)
When Nothing More came out with their album The Stories We Tell Ourselves last September, my initial listen didn’t necessarily impress me. There were some decent songs on the album, but I lazily listened through without going too far in-depth. But when the 2018 Grammy nominations came out and I saw that Nothing More had three nominations, I thought perhaps I should give a full dive into the album and see if there was anything I was missing. And, oh my God, I was missing a lot.
(09/09/17 5:00am)
The Wedding Present
(03/20/17 7:46pm)
Second only to this Post-Modern Analysis of Waluigi being the logical end-game of capitalism, the manic ramblings of musician John Maus are perhaps the strangest reads I’ve found online. Claims of the homoeroticism of Nintendo’s anti-hero are enough to tweak even the most disillusioned collegiate drone. And these sorts of things are nice—a trivial escape from reality.
(03/20/17 6:32pm)
Without a doubt, The Lie Within Callie's debut EP proves that frontwoman and primary songwriter Callie Wilson is no stranger to dulcet tones, rich songwriting, and (if the lyrics are any indication) young adult love in all its beauty and ugliness. "It's the book of hypocrisy," Callie sings in the chorus of the eponymous opening track, and she's "had ever page read to [her]."
(03/20/17 6:30pm)
Infinite Worlds is quite the fitting name for Laetitia Tamko’s debut album as Vagabon. It’s filled with many little wonders for the listener to discover, as Tamko uses her songwriting talents to carve out her own landscape in the world of indie rock. These worlds are certainly worth exploring, as Tamko lays bare her ruminations and accentuates them with deep song structures and spell-binding performances. You’ll be hard-pressed to find a debut as emotionally resonant and stunning as this. As such, she’s created one of the most accomplished debuts in recent memory, staking her claim as one of indie rock’s promising new voices.
(05/28/15 5:30pm)
“How did I get here?/ Am I ever gonna get back?” asks Conor O’Brien, subtly addressing just how much he has risked—emotionally and professionally— with his new album, Darling Arithmetic, a significant and brave move for the artist to have made.
