Listen to the goods prior to release. Exclusive streams and sneak peeks of new audio and video.
It has always fascinated me whether it is more hipster to like 'Amy Winehouse' or 'Grindhouse'. With the former, you can pass off your listening to mainstream pop music as ironic. With the latter, you can dismiss the titillation and moral depravity pertinent to most grindhouse cinema and endorse it for the 'retro' and 'cult' facets.
I have known Simeon Bartholomew for a couple years now, and throughout that time we (as in I)...
EXCLUSIVE // Listen to the newest tracks from a-tota-so (featuring members of Alright The Captain and Cheap Jazz)
We love collabs. What could be better than your favourite musicians taking their stylistic tendencies from their respective bands and merging them into one all-sick Voltron band?
Hoggs Bison, as you know, have one of the most creative names in the world. But let's put that to the side for now and talk about the Higgs Boson. So just to refresh your memory, a boson is a sub-atomic particle a subatomic particle with zero (or integral) spin...
Spazzy math rock quartet Snort is back with new EP Josh, the follow-up to their 2013 EP Ron. The band has changed quite a lot in the three years since Ron, relocating from Wisconsin to Chicago, changing their line-up, and most importantly further developing their sound.
Did you ever try playing tennis with yourself as a kid, lobbing the ball up super high so that you could run over to the other side of the court and hit the ball back to yourself? Well fuck it, I admit I did. And its no mean feat.
When it comes to shooting a song promo, you could go all out and create a cinematic work that challenges the form of the ‘music video’ a la MJ’s ‘Thriller’, you could invent a dance craze like Queen B, or you could cause a ton of controversy like The Prodigy. Alternatively, like Boston’s Quarrels, you could just hole up in a dark bunker with plenty of mood lighting and play the damn song.
he great challenge for any instrumental band is to communicate the themes of their work to listeners with a paucity of words, usually confined to song titles, album names, or intermittent vocals. When it comes to math rock, the clean toned and frenetically tapped guitar often reigns supreme in many fan circles. But it begs the question: what is the breadth of its musical language; how much can it really communicate before it alls sound the same? Math rock is predominantly a guitar-lead genre, but what will happen when the products of its tools become saturated and all too familiar?