Spending all day and night in the Portland coffee shop that never closes.
If Starbucks is the “third place” between business and
home, as plugged by CEO Howard Schultz, then the open-24-hours Southeast
Grind at 1223 SE Powell Blvd. is a “fourth place”—a have
Who: Kevin Rafn, Daniel Rafn.
Sounds like: If Ween’s 2000 record, White Pepper, delved deeper into the ’80s synth-pop territory explored on the Magnetic Fields’ The Charm of the Highway Strip
[SYNTH POP] Despite its ubiquity on Top 40 charts the past
three decades, synth-pop music has rarely felt both modern and sincere.
In the ’80s, the omnipresence of chintzy Casio presets often
Comedy and Variety
If you’re an aficionado of Adult Swim, you know Tim
Heidecker and Eric Wareheim. But the comedy duo’s lo-fi aesthetics and
sense of retro-futurist dread are familiar to anyone who’s stayed
[FREAK FOLK] Like much of Raymond Raposa’s other work under the Castanets moniker, the swaggering variance on Decimation Blues
reveals itself to be the strongest case for his existence in a realm
It’s been 22 years since Pavement released Slanted & Enchanted,
the wellspring from which the old guard of music criticism sought irony
over earnestness, detachment over enthusiasm. The most
Erika M. Anderson fills the void of the internet era with noise—and fake palm trees.
Considering her predilection for unironic lyrics about “the innerwebz,” one would think the harsh binary static that opens The Future’s Void
is Erika M. Anderson’s nihilistic anti-statemen
How I learned to stop hating pop and start loving Haim.
I never thought I
had it in me to appreciate Haim. Like most bored Midwestern kids born
in the ’80s, I found punk rock at a young age and presumed that the part
of my brain capable of apprecia