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
Who: Ryan Miller (guitar), Jon Scheid (bass), Phil Cleary (drums).
Sounds like: Steve Albini, Rick Froberg and Damon
Che soundtracking a disjointed art film about speed freaks careening
Our 50 Plates tour continues with buttered lobster on a bun from Maine Street Lobster
Summer is road-trip season, so we're taking a culinary tour of America. But because Portland is a city of immigrants from other states, we don't have to leave town to do it. We're traveling to 50 Portland restaurants to try one distinctive food from each s...More
Throwing down methods and Rainier with the board bums drawn to Mount Hood’s endless winter.
It’s winter in Australia, but Rupert Michell has no
interest in the puny ski hills of his native land. Instead, Michell took
a 20-hour flight, then drove 1,000 miles to ski in Oregon—in June
[ALBUM-ORIENTED SYNTH FOLK] The blog-rock boom of the late
aughts was a great time to be twee as fuck. Alongside Clap Your Hands
Say Yeah and the Boy Least Likely To, members of Baltimore��
There’s a definitive moment in Fear and Loathing In Las Vegas
when Hunter S. Thompson sums up the end of the ’60s era profoundly,
making note of a “high-water mark” that can be seen from