The Official Popshifter Podcast, Episode #03: Hallowand

The Official Popshifter Podcast, Episode #03, “Hallowand”

It’s the Halloween episode of the Official Popshifter Podcast, and we’re talking about all things Halloween with our special guest, Paul Casey. It’s a cornucopia of creepiness this month on Popshifter!

Featuring Managing Editor Less Lee Moore, Featured Contributor Jeffery X Martin, and Special Guest Paul Casey! Enjoy and thanks for listening.

Reviews:

Music Review: Wand, 1000 Days

DVD Review: A Plague So Pleasant

Blu-Ray Review: The Walking Dead, Season Five

Music Review: Wand, 1000 Days

By Less Lee Moore

And the paintings are now dead
And they looked into your eyes
And the patterns that they set
They will live inside your mind.
—Wand, “Paintings Are Dead”

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Music Review: Wand, Golem

By Less Lee Moore

Last year, Wand released a killer album called Ganglion Reef (review), which included a righteous track called “Flying Golem.” This year, they’ve picked up where they left off with an album named after that mythological creature. I’m not sure why they’re so fascinated with beings brought to life from inanimate matter, but the word “Golem” does provide the kind of fantastic imagery that befits their music.

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Music Review: Wand, Ganglion Reef

By Less Lee Moore

Fans of psychedelic music are lucky to be alive during the glory days of its resurgence. There are a lot of great bands out there doing inventive things with psych rock and one of these is Wand, whose debut Ganglion Reef should make several Top Ten lists this year.

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Craig Wedren, WAND

By Ben Sullivan

Craig Wedren has patiently, tastefully, and with seeming ease produced one of this year’s strongest albums in WAND, and I’d like to dispense with any scant appeals to critical distance or reportorial objectivity and simply enthuse about it.

In our cultural moment of diminishing attention and mile-long listening queues, WAND‘s 16 songs have me enthralled and inspired (and my last.fm account will testify to this). From the ringing Andrew Bird-isms of “Fall In” to the liminal bedroom contours of “Lady Ghost” and all points in between, I have retraced the album’s swift 48 minutes from their immediate impact—like hearing Wedren’s importunate falsetto for the first time—to the warm blanket of familiarity.
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