// Category Archive for: Music Reviews

Music Review: Eureka California, Versus

By Tyler Hodg

Making a lot of music in a short amount of time can result in one of two very different outcomes: slapdash garbage or effortless fabrication. Versus is Eureka California’s third release in three years, and demonstrates the latter. The record has a sense of urgency that showcases the band’s hunger, rather than just being an outpouring of unnecessary noisy drivel.

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Music Review: Margo Price, Midwest Farmer’s Daughter

By Melissa Bratcher

Margo Price makes proper country music. Not bro-country, but honest to god, real live country music. She takes up the mantle of brilliant female singers: Loretta, Dolly, Tammy. Her debut album for Third Man Records, Midwest Farmer’s Daughter, is throwback country on the surface, but her lyrics and sensibilities are completely modern. It’s an incredibly solid album, the kind of album that has staying power in your brain.

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Retro Review: Sepultura’s Roots 20 Years On

By Tim Murr

By the 1990s Sepultura had built quite a reputation for themselves. Formed in 1984 by Max and Igor Cavalera after hearing Black Sabbath’s Volume 4, they soon made a name for themselves playing black metal inspired by bands like Venom and Celtic Frost and in 1985 recorded their debut Bestial Devastation, a split EP with Overdose, followed by the full-length Morbid Visions in 1986. Sepultura hailed from Brazil and their reputation made their albums sought after items in both America and Europe.

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Music Review: Davina And The Vagabonds, Nicollet And Tenth

By Melissa Bratcher

Davina and the Vagabonds are well-known for their live shows, blending jazz, soul, brilliant stage presence, and top-notch musicianship. Attendees walk away converts. It stands to reason then, that Davina and the Vagabonds would at some point put out a live album. So they did.

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In Case You Missed It: March 13 – 19, 2016–SXSW Reviews & Music News

By Less Lee Moore

Let Haircut 100 make you happy.

Our tireless SXSW Film Festival correspondent Brad Henderson has returned to bring you reviews of all the genre films playing at this year’s SXSW. First up, is The Greasy Strangler, which is as gross and weird as its title suggests. Look for more SXSW movie reviews next week on Popshifter!

Everyone has been talking about 10 Cloverfield Lane and Jeffery braved the multiplex to bring you this non-spoilery yet mega-praiseworthy review.

Both Jeffery and I loved Baskin, the Turkish horror flick from Can Evrenol that opens in theaters and VOD on Friday, March 25. Hopefully you will love our (also non-spoilery) reviews.

Stepping outside of the horror genre for a moment, Jeffery also checked out the unexpected delights of the new Pee-wee Herman movie called Pee-wee’s Big Holiday. Joe Manganiello obviously needs to take on more comedy roles.

Another premiere on Netflix this week is the much-anticipated second season of Marvel’s Daredevil. I’ve got the scoop on the first seven episodes of the season over at Biff Bam Pop.

In some exciting and unexpected TV casting news, Andy Burns at Rue Morgue reports that Canadian punk rock and acting legend Hugh Dillon is going to be on the new season of Twin Peaks next year. Yet another reason to tune in, as if you needed any.

Sachin has two Lucha Underground recaps this week because last week’s episode, “Death Comes In Threes,” threw him for a loop, and not necessarily in an enjoyable way. The good news is that the show has recovered quickly with the excellent “Life After Death.”

Another show that had a stellar episode was Outsiders, which as Laury reports, finally got some serious character development and plot momentum with “Weapons.” And on The Walking Dead, we’re still in “The Same Boat” in terms of zombies, people dying, and not actually seeing Negan’s face.

So much music this week! Melissa has reviews of three of this week’s best releases: a spectacular album from Grant-Lee Phillips, the crazy Americana compilation Wayfaring Strangers: Cosmic American Music from Numero Group, and a brilliant reissue of the already-brilliant and woefully underappreciated Pelican West by Haircut 100. And from S. Elizabeth at Dirge Magazine, a gorgeous analysis of the equally-gorgeous Full Circle from HÆLOS.

More music news comes from Unicorn Booty’s NOW HEAR THIS! where you can find out about Michelle Obama’s new single (WHA?!), The Pet Shop Boys, and Malcolm McLaren’s annoying son.

Look for reviews of new releases from Dirty Sidewalks, Iggy Pop, and Lust For Youth soon on Popshifter.

In gaming news, you might be interested in this report about how one of the reps for Oculus Rift is a straight(-up) douchebag.

Fannibals got a hint of this in Hannibal’s second season (Achilles + Patrocles 4 LYFE), here’s more evidence that Greek mythology is way gayer than you thought.

What happened this week on Today In Pop Culture? Speaking of Greek mythology, we discuss Caligula, in addition to the Ides of March, St. Patrick, Wings, and Perry Como.

Music Review: Grant-Lee Phillips, The Narrows

By Melissa Bratcher

It behooves every writer who will review Grant-Lee Phillips’ new album The Narrows to mention that he was Stars Hollow’s beloved Troubadour on Gilmore Girls, so I will also mention it. I will also mention that Gilmore Girls is being rebooted for Netflix (as most everyone with an Internet connection will know) and that Grant-Lee Phillips will be returning to sing songs on the street corners of Stars Hollow and annoy Taylor Dosey.

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Music Review: Haircut 100, Pelican West

By Melissa Bratcher

It is a well-known, scientific fact that Haircut 100’s debut album, Pelican West, is the happiest album that ever existed (I just made that up, but hear me out). It’s full to the brim with sunny melodies, bold bursts of brass, and a weird but genius marriage of tropicalia and funk, with a dash of jazz thrown in. It’s a stunner of a debut, a fully-formed, exactly perfect right out of the gate album. It’s crushing, then, that by the time Haircut 100 returned to the studio to record a followup, the band was in tatters. Lead singer Nick Heyward had one foot out the door on his way to a solo career. Haircut 100 soldiered on, but it just wasn’t the same.

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Music Review: Wayfaring Strangers: Cosmic American Music

By Melissa Bratcher

You can always rely on Numero Group to unearth incredible, forgotten music. You know that music: the kind of stuff you pick up in a flea market because it costs a quarter and has a cover with a lady sporting huge hair and a necklace made of spoons. The kind of albums that were perhaps self-released or on the tiniest label. Hidden gems, for sure.

Numero’s newest compilation, Wayfaring Strangers: Cosmic American Music is a trip through the cut-out bins. Here are tracks that, despite not being breakthroughs for the artists, still have merit. It’s Americana, and it’s indie as anything. Maybe the artists weren’t signed to a big label. Maybe they made the record in one of those booths at a fair. Maybe they had a song that they really needed to record for serious reasons.

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Music Review: Soft Fangs, The Light

By Brian Baker

When an artist uses “fangs” in its name, you expect a body of work with teeth. For Soft Fangs, a nom-de-plume for Brooklyn, N.Y. denizen John Lutkevich, his debut full-length album, The Light, is lacking that necessary bite.

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Album Review: Northless, Cold Migration

By Tim Murr

What better album to crank up and get lost in on a cold, snowy day than the new three-song EP, Cold Migration, from the Milwaukee, Wisconsin band, Northless? It clocks in at less than 25 minutes, but feels as meaty, strong, and satisfying as a full-length LP. Northless evokes the desolation and loneliness of an endless winter’s journey.

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