Born and raised in a Midwest cultural wasteland in the early 1970s, Joseph Kyle came of age in the pathetic 1980s, his life being permanently changed in 1985 when he first saw Yellow Submarine on a rainy Sunday afternoon. He quickly learned that joining the speech team meant trips to big cities, using the state-provided per diems not for food, but for trips to the local record shops, purchasing wonderful magazines such as Reflex, Forced Exposure, Alternative Press, and, wa-ho, The Big Takeover. Jump to the 1990s and and our hero is now booking shows, working in record stores, putting together ‘zines, and being a lover of all things musical. In the 21st Century, our kid has written for Pitchfork Media, Under the Volcano, and Punk Planet, as well as heading up Mundane Sounds and Press Play, Record. After a brief retirement, he returned to documenting his love of music for the esteemed Dagger. It is an honor and a pleasure to serve you, dear BTO reader.
Mr. Kyle can be reached at: email@example.com
An exclusive first listen to the first album in eighteen years from Brighton’s indie-pop stalwarts
A record you can play in your CD player, and a CD you can play on your turntable? What?
A powerful 30-minute trip into a world that is not your home.
This scorching soul number conjures up the spirit of Jeff Buckley’s Memphis recordings. Enjoy!
An exclusive first taste of the BJM tambourine man’s solo debut!
Bandleader Perry Serpa on the NYC ensemble’s four-album series and the special challenges of running a rock orchestra.
We speak to the always-funny James Greer about his band DTCV’s stunning new album, Hilarious Heaven.
What do you get when you put Will Johnson, David Bazan, and brothers Matt and Bubba Kadane in a recording studio?
Seattle-based indie-poppers tease the ears of listeners with a quick two-song blast of pop!
Seattle-based band The Moondoggies return with one of the finest musical experiences of 2013.
Roger Eno’s latest—and a second collaboration with the group Plumbline—is a fine (if not unsurprising) collection of ambient compositions and gentle melodies.
Eddie Spaghetti offers up his first-ever solo album of all-original material, and though it’s a fun ride, underneath the sexy cover art, you’ll hear some of his deepest, most introspective—and best—songwriting to date.
Scout Niblett’s latest release is a journey into heartbreak, anger, jealousy, desire, and revenge—resulting in one of the darkest albums released this year.
Electronica composer Mark van Hoen returns with the first new Locust album in twelve years, and it continues the exotic experimentalist group’s legacy.
We have a nice, brief chat with Vinny Peculiar and Paul “Bonehead” Arthurs about their debut album, their new project, and the specter of the past.
Texas-based sibling band Eisley return with their fourth album, one that shows a band that has matured greatly since their stunning third album, The Valley.
JC Brooks & The Uptown Sound’s third album finds them eschewing most of the 60s-inspired retro soul of their previous album, in favor of a contemporary style that is much sexier and romantic. This is a very good thing.
Drivin’ n’ Cryin’ are on a roll with this, their third thematically-linked EP released in the last year. This time, they take on psych-rock, and do so with aplomb.
We have a chat with Matt Baber and Joff Winks of British-based Sanguine Hum, wherein we discuss the band’s recording process, their latest album, and the continuum of their friendship and musical collaborations.
Big Takeover is proud to debut the first single from Seattle-based The Moondoggies‘ third album, Adios I’m A Ghost.
Big Takeover is proud to present the exclusive first listen to the third album by British indie-rockers it hugs back! Click through for an interview with bandleader (and Wire guitarist) Matthew Simms.
The second duo to take on the mighty Everly Brothers catalog, the Chapin Sisters offer up new takes on old familiar hits.
Luke Winslow-King’s third album is reissued by Bloodshot Records and serves as a great introduction to a talented young man.
Masterful experimental artist David Grubbs turns in a lovely little new album, a little poppy, a little instrumental, and a whole lotta enjoyable.
Sunny indie-pop composer Allen Clapp’s latest album with his band The Orange Peels will shock longtime fans. We talk with Clapp about this darker direction and about taking risks with an established sound.
Big Takeover is proud to present the debut video from Parlour Flames, the new project of former Oasis guitarist Paul “Bonehead” Arthurs. Enjoy!
Veteran electronica composer Ellen Allien offers up her soundtrack from a commissioned ballet, reworked into a single 45-minute track, resulting in an interesting listening experience.
One of the biggest surprises of 2013 is the sudden return of Big Country, with The Alarm’s Mike Peters taking the place of the late Stuart Adamson. Peters superbly fits and he reinvigorates the band, resulting in one of the best records in the Big Country discography.
New Orleans-based duo Generationals return with their third album and finds the band soldiering on with their always enjoyable, catchy upbeat pop songwriting style.
For their ninth album, Mudhoney offers absolutely nothing new, and thank goodness for that!
Benoit Pioulard’s fourth album for Kranky finds mastermind Thomas Meluch carrying on in his psychedelic folk tradition, while blending in the styles of his more experimental releases of the last few years.
This young Cardiff-based indiepop quintet’s music lives up to its clever name.
Douglas McCombs’ resurrects his solo Brokeback moniker after a decade-long hiatus, and the album is an enjoyable—but too brief—return to form.
After releasing the excellent No Future, Oakland-based Wax Idols’ second album eschews that album’s punk-rock sound in favor of some of the best post-punk inspired music you’re likely to hear this year.
Oakland duo Bam will remind you of very good things, whilst charming you with this four-song EP.
Though she’s released music for the past few years, Ripely Pine is the debut proper for Aly Spaltro, and it’s a stunner.
On the heels of a reissue of their sole album and a farewell series of shows, we talk with Norman Brannon, guitarist for the highly regarded band Texas Is The Reason, about their past and their present.
The superb and prolific Bristol-based indiepop band The Brilliant Corners finally gets the comprehensive singles collection it has long deserved, and is an essential compilation for both longtime fans and newcomer.
Texas bar-rock legend Wayne Hancock releases another fine slab of his masterful blend of Texas swing, country, and roots rock.
Brooklyn-based Pearl Necklace’s debut is an enjoyable introduction to a young, talented duo.
Dawn McCarthy and Will Oldham team up for a tribute to the Everly Brothers, and in turn, they turn in one of the year’s best records.
Pennsylvania’s Pissed Jeans’ fourth album offers longtime listeners absolutely nothing new, and thank goodness for that!
Though Dallas-based Air Review’s influences weigh heavy on the listener, there’s something enjoyable and special about this young band’s debut album.
Deep Elm presents another amazing instrumental post-rock record, this time the Swedish-based Lights & Motion.
Just because it initially sounds like noise, the latest record by experimentalist Dan Friel is an compellingly enjoyable experience.
Parquet Courts is the offspring of the Brooklyn-via-Denton duo Fergus & Geronimo; instead of that band’s often confounding weirdness and diversity, this is a satisfyingly straightforward rock effort.
British-based quintet The History of Apple Pie offer up sweet, potent shoegazer-style dream pop on their impressive debut.
British newcomers Our Lost Infantry’s debut album is a potent mix of powerful singing and heavy instrumentation, a winning combination.
Athens’s Tunabunny’s third album is a powerful blast of post-punk fury, and is the band’s strongest statement to date.