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Ian Mathers

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  • 7 years ago

    John Pugh may have quit dance-punk maestros !!! to focus on a mere side project, and Madeline Davy may design clothes when she's not serving as Free Blood's better half, but the duo mercifully avoids devolving into the trying-too-hard clusterfuck ...

  • 7 years ago

    It's jarring to stumble upon "Pop Molecule (Molecular Pop 1)" in the midst of Stereolab's 11th album; for a band otherwise so devoted these days to kicking out the candy-coated jams—trying to prove that all sorts of retro, exotic adult pop f...

  • 7 years ago

    As the biggest thing to ever come out of my hometown of Guelph, Ontario, the Constantines' maturation into Canada's apocalyptic poet laureates of hard work and commitment has been particularly gratifying. Their early albums were too glibly tagged ...

  • 7 years ago

    For a band about whom most of the talk (pro and con) has focused on their unrelenting giddiness, Los Campesinos! have produced a debut that's surprisingly muddled emotionally. Yes, "You! Me! Dancing!" spends six minutes or so really emphasizing to...

  • 7 years ago

    People don't bother with music that's truly inscrutable—there's no point. And yet, it always feels like you're about to figure Excepter out, but there's nothing there (or even a "there") to discern. It's quicksand. But right when you give up...

  • 8 years ago

    It's unfair to call Kate Nash the anti–Lily Allen, but "Foundations," the standout on Nash's debut, Made of Bricks, might just be the anti-"Smile." Allen's mocking schadenfreude on her own breakout hit gets steadily more poisonous because it'...