New this week on Popshifter: Jeff praises The Armoury Show’s “gorgeously slick cathedral Goth with strangely danceable grooves” in the Cherry Red reissue of Waiting For The Floods; Danny calls the new Meat Puppets album, Rat Farm, “the band’s most playful and diverse offering since 1985″; Melissa B. laments the passing of George Jones in her review of the CD reissues of George Jones Country and You’ve Still Got A Place In My Heart; I describe the “geographic grandeur” of the full-length, self-titled debut from Big Black Delta; describe how no-budget, sci-fi flick Manborg “comes from the heart”; explain the “nuanced, complicated” joys of A Royal Affair; congratulate Melvins on their excellent album of covers, Everybody Loves Sausages; and get excited and photo-happy about the upcoming Vicki Berndt art show in Los Angeles.
New this week on Popshifter: Luke encourages us to stop complaining about gaming and raves over Metal Gear Rising: Revengeance; Paul is righteously indignant about the sexist responses to Anita Sarkeesian’s first Tropes vs. Women video; Cait says Bowie’s The Next Day has “an urgency, an energy and intensity long missing;” Hanna calls Alasdair Roberts & Friends’ A Wonder Working Stone “truly remarkable;” Lisa feels Oz the Great and Powerful is “too flawed” for a popcorn movie; Chelsea encourages SXSW attendees to check out the rock en español of Café Tacvba, Bajofondo, and Molotov; I think Girls Names’ The New Life is “damn fine,” am impressed with the “outstanding performances” in Jack & Diane, get my hackles up about “mocktresses,” talk about upcoming horror film Lord of Tears, and give an overview of Canadian Music Week Film Fest 13.
New this week on Popshifter: John is in love with the Paul Williams: Still Alive documentary now on DVD; Chelsea explains how the reissued 1972 solo album from Emily Bindiger “transcends its time period” and delights in the “unexpected rewards” of Las Acevedo; I share new remixes and videos from Parenthetical Girls and David Bowie and recommend the new Skyfall Blu-Ray as “a huge leap forward as well as a return to Bond’s roots.”
Inside Llewyn Davis
New this week on Popshifter: Paul takes Men’s Rights Advocates to task in his article on Women in Gaming and tells tales of pro wrestling redemptions; Chelsea loves Lady Lamb the Beekeeper’s first full-length album RiPLEY PINE; I fawn over new releases from Parenthetical Girls, Dawn McCarthy & Bonnie “Prince” Billy, and Iceage, share the latest from Big Black Delta, and review French Horn Rebellion’s newest EP Love Is Dangerous; and Hanna admires both the humor and scientific methods found in The Marriage of True Minds from Matmos.
Kiss of the Damned (full poster)
New this week on Popshifter: I reveal a behind-the-scenes video on the making of the upcoming What The Brothers Sang album by Dawn McCarthy and Bonnie “Prince” Billy and weigh in on Suede’s new single and video; Paul praises Spotify but has stern advice for Prince; Cait has the scoop on the terrific new Omnivore Recordings George Jones United Artists singles compilation; and Elizabeth reassures us we can still call television “television.”
I think the moral lesson behind The Booth at the End is: Don’t over think things. It’s also worth noting that while neon signs still use tubes to convey messages, this is no longer true of modern TVs.
Two weeks ago I wrote a piece acknowledging Netflix as our new media overlords for the occasion of the premiere of House of Cards. The success of the first independent series produced by Netflix, along with the continued success enjoyed by web series and Hulu-produced content, has some scratching their heads about what to call this new viewing experience. I have an answer to this question: when enjoying The Booth at the End on Hulu or MyMusic on YouTube, one is watching television.
This search for another name for what we are doing while we enjoy Very Mary Kate or Husbands is pointless. That many consume this entertainment via a screen on what we now call a computer rather than on what we have traditionally called a television is immaterial.
By Paul Casey
When I had a talk before about why compilations needed to die, I was concerned about their tendency to solidify tastes rather than challenge them. I would stick to a handful of albums and obsess about arranging them, producing classy covers, and finding people to absorb my musical missives in good humor. Even though I have made attempts every few years to shake myself up and haul in new music to replace old, it was still such a costly exercise that I was rarely satisfied.
For those who have had Spotify available to them for several years, please forgive me for pointing out the obvious: It is possibly the greatest thing ever. Here in Ireland, being a largely backwards outfit, we have only recently been given the chance to put an ear towards such a severe streaming catalogue.
Ten euro a month is nothing for the quality of the service provided. Twice as much could be charged and it would still be an obscene bargain, especially for those humans who are still attached to the idea that financial recompense is a fair deal for created things. There are problems and quirks with Spotify of course, and a lingering question over whether this kind of subscription service can ever provide a living for artists. Seeing as the Internet has made solipsism the thing with music, I will ignore these for the moment and expand on how I have personally benefited from this service.
By Danny R. Phillips, unrepentant recordaholic
Hi, my name’s Danny and I’m a vinyl junkie. Not the vinyl slapped on the front seat of a 1973 Chevy Malibu. No, I’m talking records man, RECORDS! From my earliest memories, I have loved the dark wonder of the LP. I would sit surrounded by my mother’s collection, everything from The Faces to Supertramp, Everly Brothers to The Bellamy Brothers. I recall listening to records for hours on end, ignoring Sesame Street, often wearing a pair of those 1970′s “earmuff” headphones, tightened to the last notch to accommodate my five-year-old head, pressing them tight with my hands so that not a note could escape.
New this week on Popshifter: Danny is not very fond of the film 360, out now on home video; Chelsea is over the moon about the new Big Dipper album, Big Dipper Crashes on the Platinum Planet (and shares their new video for “Robert Pollard”); Lisa voices unpopular opinions about It’s A Wonderful Life; Cait raves about the new white vinyl 7″ from Concrete Blonde; I express admiration and frustration for Take This Waltz; and Elizabeth talks about Community, Disney, Netflix & Verizon in a new installment of “TV Is Dead, Long Live TV.”
By Elizabeth Keathley
In his keynote speech to the XOXO Festival this past September, Dan Harmon, creator of Community, had this to say about the death of television:
“You don’t want to monetize the Internet. You’re having fun right now because it can’t be monetized. You’re getting away with murder on the Internet. You’re doing wonderful Rodenberry-ish things on the Internet because it has eschewed money and all the crappy people are back on TV wasting everyone’s time while Rome burns to the ground.”
I disagree with Harmon about several things he said in this speech, but I’ll start with the money thing because it’s so easy to disprove.