There’s a moment when you’re talking to the members of Austin rock band Schmillion that you realize they’re probably older than you. Age is just a number anyway, if you believe platitudes. The four of five members of Schmillion I’m spending a hot sunny Austin day with (bass player CeCe Cross notably absent) all carry […]
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It’s hard to say that the success The Carpenter will afford the Avett’s is unearned.
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From two different songs that split the indie and Top 40 camps into their traditional positions
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Unadorned yet anything but simple, Idler Wheel makes a pretty, propulsive thing out of what used to be distraction or baroque genre-isms.
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Kristian Matsson’s third record defines that great cliff at which lo-fi falls from the peaks stylistic accompaniment to the depths of brand-ish crutch.
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In the spirit of one of the bigger “WTF” moments in television history, let’s run through some of the more surprising or out of place references shows have drawn from music.
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The band’s more recent work has trended toward telling it’s scope instead of showing it – Valtari, at least for most of its movements, seems possessed to do differently.
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Neko Case’s Furnace Room Lullaby displays a convincing character portrait with flaws, if powerfully listenable ones.
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A button-up affair unafraid to strip itself down to near nakedness for emotional impact, Heaven is yet another maturation of the dogged New York indie rock most of their compatriots have long since abandoned.
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If anything, “Classy Girls” is a pleasant reminder that this band is going to be quite larger than what they are right now.
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HoloPac only serves one purpose: advertising.
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Yankee Hotel Foxtrot doesn’t require emotional investment, it just gets it.
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