There could hardly be a more apt sounding death knell for lo-fi indie garage than Nathan Williams’ infantile pop farts. Both the genre and Wavves itself have been due a backlash for some time now.
There could hardly be a more apt sounding death knell for lo-fi indie garage than Nathan Williams’ infantile pop farts. Both the genre and Wavves itself have been due a backlash for some time now.
In another universe, parallel to ours but not too distant, Mathangi ‘Maya’ Arulpragasam is the pivotal character in Pulp’s ‘Common People’.
Everyone seems to hear something different in the kind of piercing racket that only the pairing of a former hardcore guitarist and an ex-girl group singer could produce
The album rolls back the years and sates Devo-addicts’ cravings for more of the same. The lack of artistic progression is inevitable. After all, de-evolution is real…
There’s no reason why the soul or spirit of a recording studio should rub off on people who record there (…)
Filthy humour, a doo-wop sensibility and garage rock production are bound to make for a novel, if not sloppy cocktail. The third album from (…)
After Ghana achieved independence from Britain in 1957 it gradually moved into a period of relative affluence. (…)
Back in your boxes you merchants of stern and deep bass-heads, because here’s a man with a deft touch (…)
Nas may have been right when he said: “Hip hop is dead.” Having witnessed it sink below the level (…)
Far more than Two Dancers at London show
Gift Of The Gab: No bad mouthing as the Gossip let their music speak volumes
Nothing’s more of a turn off than being made to feel like you’re suckling at the prosthetic teat of the PR machine.
Jack Peñate’s debut 2007’s Matinée was the gurning face of the skiffle-pop holocaust, an album as wide of the mark as its author was wide of visage.