I had been considering the nature of nostalgia when I learned that Andrew Bird was rereleasing his 2005 album The Mysterious Production of Eggs, wondering whether it was possible to be nostalgic for something lost abruptly, or if nostalgia implied a loss so slow as to be imperceptible. Eggs wasn’t my introduction to Bird—2007’s ArmchairRead More
Adult/Child is similarly haphazard. On the box set, the disc is titled the Adult/Child Sessions in reference, perhaps, to the fact that it misses a couple of songs generally thought to belong on the lost album. “Life Is for the Living,” with its gratingly peppy lyrics and jaunty swing, would almost certainly have been betterRead More
You might have heard, but Britpop’s greatest group returned this year in a blaze of summer-dominating, triumphal glory. Plus, easily missed, Oasis got back together, too. Odd as it is to say now, Live ’25 wasn’t a nailed-on success. Questions swirled: Would the irascible brothers keep their egos and fratricidal instincts in check? Could theyRead More
In the summer of 2015, Carly Rae Jepsen was looking to the future: “My desire now,” she told an interviewer, “is to see how far I can stretch pop.” Her latest moves had evolved from the good-enough charm of Kiss—the album that contained her unexpectedly planet-dominating hit “Call Me Maybe”—into glossier, vintage-inspired territory: gated drums,Read More
Those two were accomplices more than enemies, though; Robinson amplified the demands Jordison made of his bandmates as nu-metal’s first master technician. Slipknot had sheared off most of the instrumental excess that came with coming up in Des Moines’ death metal scene (home to band names like Modifidious, Vexx, and Inveigh Catharsis), but not Jordison.Read More
Inspired by a visit to Yakushima Island’s Unsuikyo Ravine—the inspiration for Hayao Miyazaki’s Princess Mononoke and home to the Jomon Sugi, a cedar tree estimated to be as many as 7,000 years old—The Boy and the Tree is part forest bathing, part plunderphonic immersion in Yokota’s record collection. Its 12 deeply psychedelic tracks fold togetherRead More
Only three sense memories remain from the night my wife and I came home from the hospital after our daughter died, 10 years ago this May. My brother, sleeping like a dog on the couch behind us, a miserable sentinel. The warmth of my wife’s hot tears and breath on my face, inches from myRead More
Opposite such hooks is A Ghost Is Born’s more mischievous anti-pop flipside. “I’m a Wheel” is a gloriously smirking surge of choppy, Replacements-spirited punk rock that sticks out like a forehead zit Tweedy added to his own self-portrait; its lyrics include “uh,” “um,” and “One, two, three, four, five, six, seven, eight, nine/Once in GermanyRead More
“What we need is more silly men,” declares Frank Black on “Two Reelers,” a salute to the Three Stooges that arrives about halfway through Teenager of the Year, the second album the former Black Francis released after disbanding the Pixies in 1993. His celebration of the idiocy of Larry, Curly, and Moe makes for anRead More
But “One Beer” is warm, bleary, and entirely engrossing; it also underlines—unsurprisingly given its title—the way DOOM’s style refracts through different illicit substances. In an interview with the Los Angeles Review of Books, Open Mike Eagle characterized his favorite rapper’s early style in a particularly incisive way. In discussing how DOOM became increasingly regimented overRead More
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