
Good bands can never die

Part of a trilogy, this is darkwave ambient music, quiet but with serrated edges on its drones. There’s nothing new agey about this ambient, which makes for uneasy listening with its buzzing and clanking amid the drones and a glacial pace of movement that oozes foreboding.

Fern Knight is entrancing Renaissance fare with a psych-rock twist.

Eitzel and Vudi weave tales of beautiful sadness.

Simply put, everything about this show was perfect. HOT CHIP put on the best show I’ve seen all year.

Yeah, the chiming guitars and chord progression of “Graveyard Girl” keep threatening to turn into “Money Changes Everything,” but that fits well with the ‘80s love on display throughout – usually much more synthpop, of course.
My neurotic downloading compulsion began with electronic music, so in the interests of linear chronology, it is only fitting that I begin with the artists that led me down this path of chronic gigabyte consumption.

In summary, this show pleased both the diehards and the casual fans alike.

In a sense Lucky is an album of love songs. But refreshingly these are love songs that aren’t narrow in scope and don’t rely on clichés.
The Terrordactyls make the most dino-tastic music since T.Rex.

BEACH HOUSE’s live show doesn’t sound much different from the records and they played a nice, slow set.

Philly-based ensemble provide a live score to a singular film.

If BOREDOMS ever come near you, don’t hesitate to see them. There’s no one else on earth even remotely like them.

Boredoms drum Boston straight into self-actualization

The two-drummer setup reminded me of THE FALL circa 1982-1983 or BUTTHOLE SURFERS in their prime.