World is just over half an hour long, Split Single bandleader Jason Narducy
enriches it with two kinds of experience: the kind he’s picked up working for
Bob Mould, Robert Pollard and Superchunk, and the kind he’s picked up living
Because his voice weds the sweet side of Lou Reed’s mumble
to the melodic side of Tom Verlaine’s whimper, Dean Wareham might have gotten a
head start among influential indie- and underground-rock figures
During the 1990s, Cibo Matto became part of the New York City indie-rock scene, yet also—because members Yuka C. Honda and Miho Hatori sounded like the Japanese expatriates they were—stood apart from it
The lineup of Blonde Redhead—two Italian brothers, Amedeo and Simone Pace, and one Japanese woman, Kazu Makino—almost makes the band so exotic as to be from another planet. From its 1995 self-titled debut up through 1998’s In An Expression of the Inexpressible, Blonde Redhead could...
Mercury Rev's latest album is so dreamy that it makes The Flaming Lips seem comparatively grounded. Snowflake Midnight drifts and pulses through a natural world observed with occasionally microscopic vision and near-constant wide-eyed wonder. That drift is not without direction or coherence, though-just as a twig borne along the currents of a river is definitely going...
During the 1970s, Gary Wilson was hanging around his hometown of Endicott, N.Y. He made small experimental films and played concerts that resembled performance art. In 1977, he took his creativity into his parents' basement, where he recorded You Think You Really Know Me. He and his band, The Blind . . .
On their last two albums, 2003's Black Cherry and 2005's Supernature, the duo of Alison Goldfrapp and Will Gregory—known together under her surname—achieved the uncommon feat of making dance music that didn't require its listeners to stop thinking. Their latest, Seventh Tree, keeps the musical intelligence, but . . .
In 1996, Nada Surf got lucky with “Popular,” although the song was practically designed to relegate the band to one-hit-wonder status. By the end of the ‘90s, they seemed bound for oblivion, but it turned out that they were just regrouping. 2003’s Let Go was a quietly stunning . . .
Five years ago, Tony Bennett and k.d. lang had completed A Wonderful World, a tribute to Louis Armstrong, when an interviewer on a radio show asked Bennett about his duet partner. He said, “In my opinion, she’s the best singer since Judy Garland.”
After a pause that brought surprise from the interviewer and surprised laughter from lang, he added, “Well, it’s true.” And so it is, but lang has shared with Garland, and with Bennett, an uneven artistic instinct, as though her ability to sing anything has left her helpless to make the smartest song choices. Was it necessary to turn away so completely from Patsy Cline country on 1992’s Ingnue?