A few weeks ago, excited beyond rationality by the news a new Mumford & Sons album is on the horizon, the editors at Collapse Board asked leading U.K. retro-modernist folk critic Neil Kulkarni if he would care to compose a few words for the site to mark the auspicious occasion. Sadly, Neil didn’t find himself as […]
By Neil Kulkarni What kind of music am I into? Well… good music! Proper music, y’know? Not the chart stuff so much. I have lots of favourite songs by all kinds of bands and artists but basically I like songs from the heart. Songs about holding on through the tough times. Songs about letting things go […]
By the unwritten law of lazy-ass journalism (and trust me – for a sound as lazy as this, we’ll need to respond in kind), I’m obliged to point out that Glenn Tilbrook produced this, and that his kids are part o’ Millions. WHAT DOES THAT MEAN, THOUGH? Glenn’s better known as one of the wordsmiths […]
Once the corporate reality of Realpop is internalised, then any criticism of pop which includes a critique of the corporate nature of pop music can be dismissed as an asinine act of naivety and obviousness.
First time I was ever in Sydney, I took a trip with a photographer and PR to the blue mountains, to find the hotel they shot The Shining at, so hungover and the sun so hurting my eyes, they bled liquid gold.
Critics have been falling over themselves to praise their special brand of retro R&B mixed with retro MOR and it will surely only be a matter of time before teenagers find out about them too.
Haim’s pleasure, limited as even its enthusiasts admit, is the empty pleasure of an endless series of twinkies eaten over the course of 45 minutes. Fine enough in the beginning, but eventually destined to sicken.
Nice way of putting it. Sunny QLD krautrock. So close to an oxymoron, and two ‘genres’ which very possibly should never be allowed to cross-pollinate… one thinks… but, yeah I like it.
The London dreamers have borrowed their favourite parts from music’s past to create a headrush of love and mysticism
The way The Smiths once covered their sleeves in 60s references, the way Wu-Tang Clan embraced the language and iconography of Shaolin, the way Oasis loved The Beatles, that’s the relationship Iceage has with xenophobia and white supremacy — it may not be the window, but it’s damn sure the drapes.