Sounds

The phrase "OK Boomer" cuts through generational discourse like a rusty safety pin through polyester—sharp, dismissive, and often misdirected. When Gen Z hurls it at anyone over 40, they're usually aiming at the right cultural sensibility but hitting the wrong generational target. The architects of

How Ana da Silva and Gina Birch rejected the nostalgia circuit to reimagine what older women can be in art and music Introduction In an era when aging musicians are expected to either gracefully retire or embark on lucrative nostalgia tours, The Raincoats have chosen a third path entirely. Rather

A Bougie Metalhead's Journey Through Kvlt and Coffee I can't remember the last "metal" album I bought before stumbling across Belzebubs' Pantheon of the Nightside Gods, but I'm pretty sure it was around 2017. Regardless, that CD turned out to be

Memory, Relics, and the Delayed Recognition of Cultural Cornerstones The "legendary" status of Loveless built up like a feedback loop with a bit of a delay. The UK presses were doing their usual thing of hyping things up (so they can knock it down later... a vicious, pernicious

The word "outtakes" poisons the well before we even begin listening. It suggests material that wasn't quite good enough, the songs that didn't make the cut—creative leftovers relegated to the margins. But Sontag Shogun and Lau Nau's Päiväkahvit demands we abandon

Five Modes of Constraint in the Age of Abundant Music I. Introduction: The Age of the Skip In the algorithmic present, music lives or dies in six seconds. On TikTok, that window is the difference between obscurity and virality. On Spotify, it’s the length of a skip-rate metric. Hooks

It’s 2006 in Houston, and the evening air hums with the strange promise of resonance. Nameless Sound, the city’s quietly radical nonprofit for experimental music and improvisation, is hosting a concert at the Friends Meeting House—a Quaker space of radical stillness designed by James Turrell, where light

We saw them play at the Notting Hill Arts Club in either 1999 or 2000, when their lo-fi aesthetic of the tape hiss almost being a 4th member fit the basement vibes of the venue to a tee. Their sonic palette evolved over the decades since, arguably thanks to the

"It's so nice, I had to get it twice!" Pictured here are two editions of Ultra Vivid Scene's self-titled debut from 1988. The top copy is the original 4AD/Rough Trade issue, and the lower is the 1992 reissue on Columbia. As to why