Cole RevellMarnie Stern’s sonic attack strategy has always been of the scorched earth variety, firing all salvos in a constant barrage of squealing guitars and yelping incantations, until the listener’s mind is thoroughly melted. While the latest...
Vee Hua 華婷婷Emil & Friends’ new EP, Downed Economy, is perhaps best exemplified by its opening track and title track. Although the most upbeat track on the EP, “Downed Economy” shares similarities with the other songs by featuring an...
Peter WoodburnIn no time at all, the Decibel Festival in Seattle has apparently become one of the premier all-things-electronic festivals in the nation. Most electronic music isn’t really my bag; year in, year out, I know maybe one or two of the...
The Wooster Collective’s There’s Still Time, Brother, is quite the interactive filmmaking achievement. Displayed in a circular room, it features the composite of twelve different cameras, stitched together loosely to fill a 360-degree...
There has been a recent surge of drummer/guitarist combos playing a brash brand of lo-fi rock with punk influences. Throughout all the hype — both positive and negative — these various acts have been garnering across the nation, No Age...
The album cover for Flying Lotus‘ latest EP, Pattern+Grid World, features a close-up portrait of one of Portland illustrator Theo Ellsworth‘s intricate, feathery characters. With an album title like Pattern+Grid World, Flying Lotus...
This Zach Hill video for “The Primitives Talk” features all sorts of bad video effects holding hands. Slow fades, hyper zooms, bad 3D modeling, transparent overlays, and, well, more bad 3D modeling. Conceptually, too, this video is...
An experimental rock quartet from the Bay Area, Religious Girls rely on common elements of electronics, gang vocals, and multiple drumsets to create a sound that lies somewhere between charismatic church service and pagan backwoods ritual. Here...