Featuring selections by Jem Cohen, Keith Connolly, Britton Powell, Alan Courtis, Byron Westbrook, and more.
The prolific New York lyricist digs into songcraft on the occasion of his new autobiographical album, 50 Song Memoir.
“I grew up having to sing along to very patriarchal, male, straight viewpoints—lyrics that had nothing to do with me.”
“A big part of music for me has always been advocacy, and about having a space where people who feel marginalized by society can do things together.”
Drummer and vocalist Daniel Spencer on Brisbane, studio recording, and motorsports.
Meg Remy of US Girls talks to the former Sic Alp about anger, publicity, lyrics, and Roald Dahl.
Songwriter Robert Forster on his group’s nearly flawless decade.
A love letter composed from a scaffold. Isn’t this the way we live now?
The Clean, The Heavy Eights, The Bats, and smoking hash with Alex Chilton.
On being an outsider, the nature of authenticity, and the depths of pop-culture.
Amy Sillman, Steve Roden & Stephen Vitellio, Ben Rivers, Julia Holter, My Barbarian, Paulo Bruscky, Rodrigo Rey Rosa, Goncalo M. Tavares, Florian Hecker, Simon Lee, Charles North, Juan Villoro, Susan Friedland …
John Maus—musician, philosopher, gentleman—speaks about Ariel Pink, Alain Badiou and the application of pop-music strategies to radical politics.
Fiery Furnace Eleanor Friedberger has a lovely solo album that’s pretty much ultimate aestival. She talks to BOMB about feeling lost in your own city, sibling rivalry, and sentimentality.
Stephin Merritt and the Magnetic Fields are the subjects of Kerthy Fix and Gail O’Hara’s upcoming documentary, Strange Powers. He speaks here on hyperacusis, self-imposed constraints, licensing, pastiche and other clichés.
It’s an iffy conceit, packaging a glut of obscure tunes from the same period and place, and then inventing a genre to cohere them.
Singer Macy Gray’s smoky, scratchy, full-bodied voice is paradoxical. Let it be said that she can belt it like Aretha, growl it like Tina, and is as unmistakable as Dinah, Eartha, or Nina in her range, tone, and delivery.
Textural music tends to be rhythmically, shall we say, challenged. You know, slow. Toe 2000 fronts texture and sound color over melodic development, but drummer David Pavkovic isn’t shy to kick a song along, either.