post-rock Archive

John Lydon Tells It As It Is (Part Two)

Continued from Part One… In what ways do you think that that realization comes through in your music? I try to be as transparent and honest as I possibly can, with the realization that if you give it all away there is nothing left for yourself. And that would be silly. Because I absolutely understand

John Lydon Tells It As It Is (Part One)

Crawling from the wreckage that was the Sex Pistols, vocalist Johnny Rotten reverted to his given name and put together a new group, Public Image Limited. PiL drew from dub reggae and disco, filtered through sheets of dissonance and Lydon’s trademark vocals. Through fits and starts, the band released a string of albums and unlikely

John Lydon is … Happy? (Part Two)

Continued from Part One… A defining characteristic of most all of PiL’s releases is that – like Black Sabbath, oddly enough – each was critically panned upon release, only to undergo reassessment within a few years, by which time the music would be hailed as relevant, innovative and important. One might expect Lydon to find

John Lydon is … Happy? (Part One)

“Ever get the feeling you’ve been cheated?” With that question posed to an audience at San Francisco’s Winterland on January 14, 1978, visibly unhappy vocalist Johnny Rotten (neé Lydon) ended his tenure with the Sex Pistols. Not counting relatively brief reunions in 1996 and 2007, that gig marked the effective end of the band, though

EP Review: Ghostdog — A Circle of Stones

Yearning, melancholy midtempo rock with a dreamy feel is merely one of the stocks-in-trade of Asheville-based Ghostdog. But it’s worth noting that the group playfully describes its music as “Wussy-boy emo pop.” The group’s second EP, A Circle of Stones opens with “Party On, Emma’s Grove.” Will Isaacson’s complex guitar figure and Adam Freshcorn’s knotty

New Music Review Roundup, Part 3

Today I wrap up three days’ worth of reviews of new music. Dig if you will. The Pollyseeds – Sounds of Crenshaw, Vol. 1 As far as I know, none of the music on Sounds of Crenshaw Vol. 1 is used on the soundtrack of the Amazon Original series Bosch, but – like that crime

New Music Review Roundup, Part 1

I’ve got lots of new music to tell you about. Eighteen albums in all, which I’ll cover over three days. Let’s get started. The Brigadier – Wash Away the Day Imagine a hybrid of mid-sixties Brian Wilson, the Raspberries, Brill Building girl group pop (sung by a guy) and the Rubinoos. Now add a dash

Russian Circles: Making Music in a Post-rock World

In a valiant attempt to provide helpful points of reference for music listeners, journalists have concocted all manner of genre labels. Some – folk-rock, for example – are useful in describing a style of music. Others are virtually meaningless. So it is with post-rock, a term first used in the mid 1990s to describe music

Sigur Rós Proves That Music Really is the Universal Language

A brief written description of the music of Sigur Rós rarely does it justice. Variously described as post-rock, impressionistic, glacial and abstract, the music on the trio’s seven studio albums often features falsetto vocals in either the group’s native Icelandic or an invented, wordless “language” called Hopelandic or vonlenska. But while that summary might suggest

Five Quick Ones

About once a month I like to visit my “in for review” shelf and pull out some titles that I’ve been meaning to get to for some time. For whatever reason, other projects or reviews have taken precedence, causing these worthy releases to gather the odd bit of dust on my shelf. I will have