Ever wonder what would happen if you combined groovy sludge-metal, haunting Bowie-esque vocals/ballads, hardcore punk/thrash, chaotic psychedelia, a dash of black metal, a pinch of industrial, and some of the
The Craft Recordings reissue of Howard McGhee and Teddy Edwards’ Together Again!!!! is a celebration of two monumental figures in post-bop jazz, brought back into the sonic forefront with pristine
Anna Butterss’ Mighty Vertebrate is a striking album that defies easy categorization, blending jazz, indie, and experimental music into a cohesive and imaginative body of work. Hailing from Adelaide, Australia,
When PJ Harvey tours, it should be a must-attend event for anyone who appreciates punk, blues, indie, and the avant-garde at its most primal and experimental. On her first tour
Norwegian rock was the flavor of the night in Orlando as Leprous played The Plaza Live. The doors opened an hour late but didn’t hinder the moderate crowd’s excitement for
Brenton Wood is an unsung hero of the 1960s soul era, a name that may not ring as many bells as Marvin Gaye or Smokey Robinson but deserves just as
He was the posterchild for Satanic Panic in the 1980s and the inspiration for a slew of shitty teenage metal bands (and likely a few cool ones, as well). But
Two of indie rock music’s biggest success stories in the last decade are The National and The War On Drugs. The National, with its brooding dad rock sound that is
Every artist from any genre or era faces the same dilemma once a certain level of success is reached: Do they keep up the same sound that got them to
The Who’s Odds & Sods (released 10/4/74) is a prime example of how retrospect can reveal more than a little profundity in the work of rock and roll’s most ambitious artists.
