Weezer went from being the darlings of thinking rockers the world over to objects of barely concealed condescension from the musical intelligentsia.
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Not to be pejorative towards Eric Chenaux, or his sophomore album, but Sloppy Ground is about as apt a moniker as you’ll get.
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Great music sounds like it was always meant to be.
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As a band touted as the saviours of indie-rock with debut The Loon, it’s hard to cut through the hyperbole and not be swayed to either pole of critique.
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Perth bands have an inherent quality: what they lose in airfares, they make up for in isolation myths.
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Listening to Listen to Little Red, it is refreshing to hear a band making music so far from the mainstream, yet still be so undeniably hook-laden that a greater form of stardom potentially beckons.
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A band can’t be built solely on the strength of one player alone.
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Tilly and the Wall have never been shy about getting a little bit feisty.
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New Romanticism is new again.
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Momofuku is not as melodically gifted as Armed Forces or as untameable as This Year’s Model. But it is a fascinating and consistent rock record.
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All My Strange Companions; bursts of quaintly charming pop buried in the graveyard of a dead sound.
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Too often Evil Urges sways moodily, as if the pressures of success and expectation have created an unwanted bipolar disorder in the intentions of the band.
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