post-rock Archive

The Drive to 1981 Begins: A Look Back at Robert Fripp’s Masterful ‘Exposure’ (Part 2)

Continued from Part One … Fans of King Crimson’s Red receive a wonderful treat with “Breathless.” Though the specific players on each track aren’t noted, the song – very much a cousin to Red‘s title track – features a very progressive Narada Michael Walden on the drum kit, and Tony Levin (of future Crimsons) on

The Drive to 1981 Begins: A Look Back at Robert Fripp’s Masterful ‘Exposure’ (Part 1)

Guitarist Robert Fripp has long been one of music’s most intriguing figures. Largely operating outside the pop mainstream (and, when he can, outside the traditional machinery of the music business itself), Fripp is that unique artist who expects certain things from his audience. He believes – and operates according to a belief – in the

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