Wednesday 30 Jul
CD reviews

Power Pyramid - The God Drums

Power Pyramid doesn’t have much patience for nonsense. That appears to be the takeaway from the Oklahoma City quintet’s last 10 months, which brought The God Drums in September, the Insomnia EP in January and its latest, self-titled effort in July.

07/29/2014 | Comments 0

TJ Mayes - "When Love Comes Down"

’50s era rock ’n’ roll had been long overdue for a rebirth. Thankfully, the stockpile of capable luminaries has not been in short supply over the past few years. 

07/23/2014 | Comments 0

Boare - "playdatshit"

The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
07/23/2014 | Comments 0

Broncho - "Class Historian"

Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
07/23/2014 | Comments 0

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0

SXSW: Buffalo Lounge: BrotherBear

Electro-powered, haunting music

By Stephen Carradini March 14th, 2012

BrotherBear\'s vocalist visiting the audience.
Credits: Stephen Carradini

BrotherBear got inside my mind with its haunting, deep electro grooves, so much so that instead of my actual password, I typed their band name into my computer to unlock it. Such is the power of the band's unusual, off-kilter tunes.

The main instruments in BrotherBear's arsenal for this set were keyboards, a bass guitar, and drums. An electric guitar made an appearance too, but the majority of the set was covered by deep synths that produced haunting moods. Even when the band picked up the pace in an ostensibly dance-able song, the overall mood was one of dread and neurosis, instead of happy-go-lucky party music. This is all complimentary, by the way; their set was mesmerizing.

Two members of the band left the stage frequently, wandering around with the aforementioned guitar and a microphone; frantic dancing was involved for the lead singer. That these outgoing motions were backed up by a slow-moving, powerful sound instead of your regular upbeat dance fare played up the tension that BrotherBear produced. It was a fascinating set; BrotherBear is definitely working within a clearly defined vision of what they want to do (or, otherwise, doing a very convincing act). Fans of Chrome Pony and related bands will be enthused.

  • Currently 3.5/5 Stars.
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