It’s so easy to be scathing of the music industry.
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The glass ceiling that A Few More Published Studies possesses is its completely generic approach to music creation.
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Switches are essentially temporary house guests.
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The Raveonettes have always attempted to emulate the characteristics of the great sixties pop bands but they never sounded like they came from the sixties.
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What if Born Ruffians, the hyper-active Canadian four-piece, founded their own nation?
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No More Shall We Part was an album we all needed. With all signs pointing to disaster, it was a shot of pure beauty and elegance, a piece of genius that could only come from a deep well of suffering.
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Great pop music is defined by its hooks and ability to evoke emotions.
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The Felice Brothers have been living rough, taking up residence in a rickety old school bus, getting arrested and travelling around America playing their whiskey bar blues.
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Rafter’s Sex Death Cassette is an album which delights for all its pop-simplicity, its flashes of non-conformity allowing it to linger longer than simple pop generally can.
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The long term music project is a rarity in today’s furiously churning music industry.
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One assumes that all UK labels are searching for another Alex Turner. This line of thinking is almost certainly what scored Correcto their debut album deal.
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On Cavalier, American troubadour Tom Brosseau yearns for a bygone era; a time when all you needed was an acoustic guitar and a set of engrossing tales to captivate an audience.
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