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What is it about Houston that so haunts its denizens? Whether it be the free-form mumblings of the Red Krayola or the fuckery of the Kangaroo Court and the mysterious plunk, thuds, and howls of Jandek, the city and its ghosts hiss just below the surface, spinning cobwebs that dangle from every note. Everything has been touched by the phantom of the city. And even though Tom and Christina Carter now reside in Austin, they have turned to face these ghosts on their sixth album overall, simply entit…
"Sick to Death" received worldwide accolades for its frantic pacing, unimpeachable lyric quality, & nugget after nugget of pop hooks buried under a gob of lo-fi muzz. This time they explore a cleaner, more inimitable sound. Gone is the wall of crud that prevents discerning listeners from identifying the instrumental play-by-play; it its stead, a set of crafted songs recall the paisley punk of The Last & the rural-delica of Great Plains, as well as nodding to the sanguine pop of early Flying Nun …
Back in stock. 'Tusk wields its classic rock appellation like a talisman, but it still owes more to the lava-like flow of Repent, the trio's voice-free collection of in-concert jams recorded in 1996, than it does to any collection of rock songs that I've ever heard. They get some of the component pieces right; there's Robbie Yeats' inexorably driving drumming, Bruce Russell and Michael Morley's grinding rhythm guitar riffs, and Morley's vocal melodies that ooze out of the static-ridden ha…
There's not much in the way of commentary or anything about that, though, so either call it a wry Kiwi joke at the Yanks' expense or just something that looked nice enough to use. Consisting of six tracks of unsurprisingly varying length - fairly short or totally long - in ways The White House is Dead C as per usual and in others a bit of a diversion from the usual form. Notably, there's evidence of relatively more production - while it's hardly hard-disk billion-track digital sound or the like,…
Mr. Ubiquitous lends his formidable name and image to a Siltbreeze project. Experimental drones and noises with nods to Phill Niblock and noted pop subversive James iDumpi McNew. A big, clanging, obstreperous, kosher meatloaf of an album.