
October 1973 (35 years ago) marked ABC’s last-ditch attempt to garner a hit for this album: They released the single “My Old School,” backed by “Pearl of the Quarter.” It didn’t work.

Radiohead’s now king, but rather than press you against the wall they will lift you out of your seat.

If there were any surprises, it was that they played so much material from The Bends.
Creeping forward whilst changing form and focus since the turn of the century, The Funeral Crashers have become a mainstay of New York City’s fledgling “new dark rock scene.” A new appreciation for The Crashers grew after immersing myself in their first full-length, so I decided to fill in the blanks through an interview.

With a band like Radiohead, first impressions rarely stick. While I can’t yet hail In Rainbows as a ‘masterpiece,’ I know it sure as heck comes close.

I think bands that get popular very quickly can combust very quickly, and that was never something that I wanted to emulate.

Chris’ musical language had a big impact on the band, but I feel like he’s still here because I think we all have incorporated parts of him into our own ways of thinking about and playing music.

This was no ordinary LOU REED concert. This performance of Berlin in its entirety was a once-in-a-lifetime event.
In her New York Times Magazine piece on the Toronto ‘youth’ music scene that revolves around the ‘flagship’ band BROKEN SOCIAL SCENE, ALISSA QUART shows that piercing wit and, at times, brutal insight, are alive and well in today’s muckraking rock journalism.

Hitting the stage at roughly 10:00 PM, they opened with a jaw-dropping version of “Chris Michaels” from their 2004 tour-de-force Blueberry Boat.