Staff Detail

No Cities To Love (CD)

It’s tough to come back after a nearly decade-long hiatus, especially after your band’s best album (the combustible The Woods). But Sleater-Kinney succeed with aplomb on No Cities to Love, which scales back on Woods’ volume without dialing down the ferocity. Cities roars right out of the gate on “Price Tag,” as Corin Tucker gives a scathing indictment of American greed over Carrie Brownstein’s tuff gnarled riffs. Janet Weiss also gives a typically dynamic performance, switching between off-kilter punk-funk and straightforward rawk on “Fangless” and giving “No Anthems” and “Gimme Love” their pounding swagger. There’s a sense that Tucker, Brownstein and Weiss are growing comfortable with one another again, and appropriately, No Cities to Love is curt at 10 songs (thankfully trimmed of any fat whatsoever, really). When the trio fits together perfectly, as on “Surface Envy,” it’s a marvel to behold, its acidic riffs swaying and bursting at the seams while Tucker gives her band a worthy rallying call (“We win, we lose, only together do we make the rules”). Decidedly, No Cities to Love is yet another win for the returning rock titans known as Sleater-Kinney. 

Read more
The Grand Budapest Hotel [OST] (CD)

What would a Wes Anderson movie be without a soundtrack as bright and detailed as its imagery? Desplat, who has worked with Anderson on his last two films (Fantastic Mr. Fox and Moonrise Kingdom) provides a constantly moving soundtrack that is both tense and playful, offering a sort of mocking sleuthy erudition that can only come by way of real appreciation for the lilt of the music it imitates.

Read more
Viet Cong (CD)

From the ashes of the band Women comes Viet Cong, including that band’s bassist and drummer. Like Women, Viet Cong trade in gleaming, clashing guitars and droning vocal harmonies that seem to hang in mid-air, on tracks like “Bunker Buster.” “Pointless Experience” whizzes around with rocketing guitar riffs that beg to be heard on headphones, while “Continental Shelf” surfs on a New Order-ish bassline and brown waves of grimy guitar noise and leaping vocals. Though Viet Cong can be plenty crowd-pleasing when they want to be, on the new wavey “Silhouettes,” for instance, they’re also unapologetically experimental, though usually with a purpose—if you make it through the punishing industrial pulse of the first half of “March of Progress,” you’re rewarded with a haunting multivocal séance and surprisingly upbeat ending. And on final track, “Death,” the band seems to pay tribute to fallen Women guitarist Chris Reimer, with the kind of expansive guitar exercise worthy of Reimer’s sorely missed talent. Like Women, Viet Cong prefer to say what they need to say and then get out, but it’s always better to leave listeners wanting more. And any post-punk fan will be left wanting a lot more Viet Cong after hearing their dynamic debut.

Read more
Dark Side Of The Mule (CD)

Back in 2008, Gov’t Mule played an epic three-hour gig at Boston’s Orpheum Theatre on Halloween night. That night the jam band performed a setlist comprised entirely of Pink Floyd covers. Not that it is surprising that Warren Haynes and his cronies would do a tip of the hat to Floyd per se, but to set up archival releases showcasing those efforts? A whole new thing. As the first entry in a newly launched archival campaign, Gov’t Mule is releasing Dark Side of the Mule, the full show from 2008 in Boston, wonderfully mixed and mastered to capture the band's essence. It will be released on CD, as well as a deluxe three-CD/DVD combo and as a double-vinyl edition. These archival releases aim to highlight the band's evolution as well as a catalog of their influences. And with nearly 300 songs in their live repertoire alone, you can be sure there is a lot more where that came from.

Read more
Girlpool (CD)

L.A. duo Girlpool pack more smarts and attitude into 15 minutes than most bands do in a lifetime on their debut, seven-song EP. They touch on great female-fronted rock bands of yore like The Slits, Young Marble Giants, The Breeders and Bikini Kill without being beholden to any of them. What comes out is a sort of minimalist, playfully feminist record about girls who don’t put up with shit—they’ll punch a dude for talking out of both sides of his mouth, as they sing on the seething “Jane,” or call out a guy for being a superficial baby, on “Blah Blah Blah.” Some of their work is really beautiful, too, like the sparkling “Plants and Worms,” relying on Harmony Tividad and Cleo Tucker’s bass and guitar interplay and unison vocals. Though some of the lyrics fall into clunky territory (“Slutmouth’s” “I don’t wanna get fucked by a fucked society”), their lyrics mostly work well by being direct yet uniquely stated, undercutting typical archetypes on the same song (“I don’t really care to brush my hair … I go to school every day, just to be made a housewife one day”). Girlpool mostly seem like they don’t care what you think of them—they’re clearly unstoppable, anyway. This EP promises great things to come from Girlpool.

Read more
Lonerism (LP)

If Jeff Magnum (Neutral Milk Hotel) had been born 10 years later and became obsessed with tape loops, this is sort of what it would sound like. Stellar effort, even better than their first LP. Get on it, people.  

Read more