Interviews

What a wonderful sound, when two beautiful voices converge in harmony to form a melody that is so pleasant you feel as if you could reach out and touch it.

Washington D.C. legends The Dismemberment Plan released four hugely influential albums in the burgeoning indie rock scene of the late '90s and early 2000s, earning vast critical praise for their unique blend of calculated math-rock rhythms, dexterous instrumental skills, and quirky, off-beat tunes about disconnect and confusion in a rapily changing world. They've also proved to be one of the most influential bands of its era, along the way influencing everyone from Death Cab for Cutie to At the Drive-In.

They have one of those names that makes you wonder what the heck they were thinking when they chose it but in actuality it fits them very well. The catchy jittery unrestrained songs that come from a happy jittery unrestrained singer that you can’t seem to well…. “cage."

Hackett's been especially busy lately: Besides his induction into the Rock & Roll Hall of Fame as a member of Genesis (Finally, prog rock gets some Hall of Fame love!), he's released two albums within the last year-and-a-half (2009's full-length Out of the Tunnel's Mouth and the 2010 live album Live Rails). Glide recently had the chance to catch up with Hackett, touching on his recent projects, his inspirations, and the inevitable Genesis questions…

We present parts 1 and 2 of Hidden Track's two-part e-mail interview with Anastasio in which Trey shares his thoughts on the current lineup of TAB, the return of the acoustic set, the signs that have popped up at Phish shows and much more…

Showroom of Compassion, Cake's newest album, is no exception to this recipe. After a nearly seven year break (Has it really been that long?), McCrea and company have returned with another great—not mind-blowing—but great album. Which is totally fine—in today's "Make A Grand Statement" age, it's nice to know that Cake are still the great little band we've always loved, even if they aren't blowing anyone's minds. This time around, the band did decide to record with 100% solar energy, which is undeniably impressive, but outside of that press release-clogging tidbit, pretty much nothing has changed.

Let England Shake continues where PJ Harvey's White Chalk let off– not in sound but in aesthetic endeavor. It’s a daring step forward for Harvey. Dissenters may cite alienation as their key grievance for this new era in Harvey’s career, wishing for a return to the lower register singing and gripping guitar playing that characterized much of her 90’s work. In many ways, they’re not wrong to feel frustrated at Harvey’s new sound; however, reinvention is central to her artistic process, and to deny expansion is limiting and hampers potentially new avenues for Harvey’s self expression.

Is David Lowery going solo these days? Yes and no, according to him. His latest collection, The Palace Guards, takes Camper and Cracker’s frontman to untouched territory within his mind and music.  What may sound familiar is the trusted circle of musicians Lowery has relied on for over 17 years and who are once again instrumental in creating the sounds for The Palace.

    The groundbreaking rock duo The White Stripes announced Wednesday they are splitting up and "will make no further new recordings or perform live."   Jack White and Meg White say there are a "myriad of reasons" for the breakup, but the main reason is to "preserve what is beautiful and special about the […]

Under the Avey Tare moniker, Dave Portner released his debut album, Down There, under this dark shadow, creating electronic soundscapes filled with oscillators and sequencers, odd synthesizers bubbling underneath pitch-shifted vocals and sound effects. He envisioned the album as a swamp (which explains the album's crocodile-themed artwork) and as a journey through hell. Glide spoke with Portner about his debut album, the dark themes permeating through the music, and his love of both filmmaking and the music of Steely Dan.