Originally published on Tue July 22, 2014 11:28 am
If emo has cheerleaders, they're Keith and Cathy Latinen. Since 2007, the Michigan-based husband and wife have tirelessly run the Count Your Lucky Stars label during a time when the genre didn't have many vocal supporters. Many of its releases have inspired bands in the now-thriving young scene to take up the '90s Midwest emo sound and do what they will.
No theme has dominated country radio playlists and charts more in the past couple of years than celebration of the sort of small-town good life that features trucks, beer and scantily clad women as the must-have accessories. The young country duo Maddie & Tae aren't fans of the third element in the "bro-country" trinity.
Originally published on Mon July 21, 2014 11:31 am
"Nostalgia has no place for the woman traveling alone," the great travel writer Mary Morris once wrote. "Our motion is forward, whether by train or daydream." She's describing a necessary ruthlessness: Women are so often defined by their attachments (family, romance, even the fetishes of style) that becoming light enough to move often requires behavior others might read as cruel or, at best, distanced.
Originally published on Tue July 22, 2014 10:01 am
In a career spanning three decades, Harvey Bassett has done a bit of everything. He bashed drums in a John Peel-approved U.K. punk band in the late '70s, then found himself taken with hip-hop and turntables while visiting New York City in the early '80s.
Twenty years is a long time in the life of a band. In the case of Quetzal, its two decades have been spent playing the soundtrack of its East L.A. neighborhoods: an evolving mash-up of Mexican son jarocho, low-rider oldies, cumbia, boleros, rock and blues.
Many Angelenos consider Quetzal as much as an institution as its East L.A. brethren in Los Lobos. Much of the current revival of son jarocho can be traced to Quetzal's history of playing the music when few others bothered.
Originally published on Mon July 21, 2014 11:39 am
Two minutes and 11 seconds into "They Dream," from Bear in Heaven's fourth album Time Is Over One Day Old, the music takes a strange turn. The band has been shuttling along at a riveting adventure-movie clip, with Jon Philpot's reverb-swaddled voice functioning as the primary distinct element in a sleek blur. Then, abruptly, the tempo stops. A wash of Space Mountain synths dissolves slowly — the set has been struck. When Philpot begins to sing again, he's the sole occupant of the spotlight.
Broadcasting live from the land of legal weed and sliding into the frame like a giant Pacific octopus, here comes Lese Majesty, the third album from Seattle's Shabazz Palaces. It's definitely hip-hop, but... was that a drum? Human? Synthesizer? Sample of an old record? We may never know. MC and producer Ishmael Butler keeps his cards close.
Even when he was in his late 20s, Tom Petty had a curmudgeonly edge to him, so it's no surprise that he's sneering about threats to the American dream in the opening moments of his new album, Hypnotic Eye. At 63, Petty is well into his transition to full-blown misanthropy, at times splitting the difference between Randy Newman and Bob Dylan.