Goodbye, Big Man
Clarence Clemons was almost more important than Bruce Springsteen himself
Read MoreClarence Clemons was almost more important than Bruce Springsteen himself
Read MoreYou no longer own your music and it no longer says anything about you. You are just a traveller in a sea, controlled by a nonexistent bank, somewhere up in the sky.
Read MoreFor having remarkably different careers, the two groups are always, and rightly, compared to each other.
Read MoreDemolished Thoughts is, more than likely, exactly what it should be. But in a world where the standard has been raised for great folk-pop, exactly what it should be frequently doesn’t seem like enough.
Read MoreManchester Orchestra’s bloated studio budget has turned Simple Math saccharine, fake and unlivable.
Read MoreAs a traditional folk storyteller, McCombs’ verses are often knotted mysteries, accessible to only the most attuned listener.
Read MoreWe get it—Rebecca Black’s “Friday” is an awful, terrible song. But let’s not forget that the song is about one of the most anticipated days of the week.
Read MoreLady Gaga has arrived to ruin pop music forever, with trailer-trash icon Ke$ha and good Christian bitch Katy Perry on her leash, ready to clear out the opposition for her takeover of radio, but a trio of women seems equally hell-bent on saving us from ourselves
Read MoreIn the wake of the fallout surrounding Taking Back Sunday in 2004, one would expect John Nolan to use Straylight Run as a way to unleash his anger. And he did, just not in the way everyone expected him to…
Read MoreSaigon is a great example of an occasionally clever rapper who spouts about the things he lives, but his long-anticipated debut album seems like a gelatinous smattering of meaningless verses piqued by perhaps the greatest work Just Blaze has ever done.
Read MoreWhen listening to Something Dirty, one gets the feeling that they’re listening to a grab bag, almost a odds n’ sods collection of Faust’s ideas that never quite made it past the cutting room table. Just so, the record reveals itself to be a “pick a few, leave the rest” treasure trove.
Read MoreWhile Nate Wolcott and Mike Mogis have never sounded better, The People’s Key somehow feels like its own soapbox. Conor Oberst is at his most pretentious, and it’s almost hard to hear.
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