One went electric, one went ironic. Where is the fork in the road between these two artists who beat their own paths through the artistic wilderness?
All in The Re-Critic
One went electric, one went ironic. Where is the fork in the road between these two artists who beat their own paths through the artistic wilderness?
How important for a writer is the rush of inspiration in the moment? Maybe easing up and allowing in the comfort goes just as far. Maybe it goes even further.
Tobias Jesso Jr.’s 2015 debut (and only album so far) still offers waves of easy pop looseness to get lost in, but it’s not afraid of a little texture and confrontation.
Everything is changing. Some of our music-related touchstones may be lost for good. But that’s probably not so bad.
“I don't think I've done bad for a guy from Slab Fork, West Virginia.”
-Bill Withers
How Kevin Barnes used four tracks to outline an extravagant penchant for breaking the rules.
A whimsical tale of writer’s block, terminal illness, and a triumph of the human spirit. Or, you know, maybe nothing quite that grandiose. Who can say?
In 2011, Dan Bejar and his band Destroyer did something unthinkable: they made soft rock. And it really, really worked.
Liking a band’s output and being fully engaged by it sometimes turn out to be two very different things.
Orville Peck represents a tectonic shift in country music that could have game-changing implications. So why doesn’t it feel like he’s making strictly country music?
Our attitudes about what we used to call “selling out” have changed for the better. In a way, McDonald’s is to thank for this shift in attitude. … Ughhhh.
The Shins took the bold step of getting paid for the use of one of their songs in 2002. So why did some people hate them for it?
Seattle’s Perfume Genius offered an exquisite, at times difficult, portrayal of what true empathy could sound like…but it arrived long before anyone was looking for it.
Is criticism an art in itself? We think so, and we’d love to explain the significance of that analysis by using the context of the current Billie Eilish geostorm as a jumping off point.
While the blogosphere was deluged in a veritable tidal wave of folk and indie rock music, making an album that would stand the test of time turned out to be an exercise in making one that was indisputably untimely.
If you haven’t yet discovered Discovery, get hyped on a crystal ball of an album that broke rules while prognosticating the shape of pop to come.
My Latest Novel’s debut still seems like the breakthrough album that should have been, and years later it remains a confident and assured work that plays by no one’s rules.
In which we find our protagonist ending the year with a pre-emptive strike against a burgeoning (and possibly wholly imaginary) onslaught of opinions against vinyl as the music-buying market becomes increasingly complicated by waves of new and revived technologies.