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We dip into the interview archives this week for a previously unheard chat from June of last year with ’90s alternative veteran Matthew Sweet
Okay, it sounds like the beginning of a bad joke: what do you get when you take five former residents of the USSR, put them in a band, and move them to San Francisco? The answer, completely seriously, is Attik Door, an alternative rock outfit that hearkens back to the Bay Area of the early ’90s, just before those punk kids in Oakland invaded. On their newest album, Never in Agreement, lead songstress Liana Tovmasyan channels vocalists like Gwen Stefani, adding that biting touch that gives this band its kickass edge. Over the record’s 10 tracks, Attik Door explores a range of both melodic and lyrical territory. Its lead single, “Posers” is an all lash-out rager that sucks the listener in with its explosive feel. That same energy carries the material and takes the listener on a high-octane ride. Standouts include “Fuel,” with its distinct Red Hot Chili Peppers sound, the blistering “Snorting Headlines,” and the particularly Stefani-like “Spinning Out.” If you’re looking for a slight reprieve from the nonstop pace, “California” and “Kosmos” are as close …
Last year, LA indie darlings Ships Have Sailed released Someday, their first six-song EP, chock full of those dreamy SoCal melodies you expect from rising stars of the region. Since Someday‘s release, SHS has enjoyed spins on NPR, along with commercial and college radio, and are currently prepping their new LP Moodswings for a March release. Now, we’re so pleased to debut “Summertime” from Moodswings, an infectious, poppy head-bopper not completely void of teenybopper appeal (which, with a song called “Summertime,” isn’t a bad thing). In fact, fans of Fountains of Wayne, Bowling for Soup, or any of those other middle-road FM favorites of the early-2000s will find a salve for their nostalgic longing. In short: I literally haven’t stopped playing this since I heard it the first time. And I’m willing to bet you won’t either. Check out “Summertime” from Ships Have Sailed in a Popdose exclusive!
It took a few decades, but Stone Temple Pilots have finally had it with Scott Weiland acting like… Scott Weiland.
In the wake of Scott Weiland’s firing from Stone Temple Pilots, Chris Holmes counts down the top ten songs from STP’s six albums.
With the renewed popularity of female-fronted alternative rock, New Found Glory guitarist Chad Gilbert saw a window of opportunity to bring ‘90s alt-rocker Lisa Loeb, a noted influence for many of those same artists, back around to file a new chapter in her own discography of work. Gilbert, a longtime fan of Loeb’s music, knew exactly the kind of album that fellow fans would want to hear from Lisa and he also knew that fans had been waiting for quite a while. Loeb had been wrapped up in a variety of projects which had carried her away from making the “adult” music that brought her name recognition, starting in 1994 with “Stay,” the #1 Grammy-nominated hit which served as her musical moment of introduction to the outside world. Having developed a healthy career of his own outside of New Found Glory as a producer, Gilbert had the right resume and experience to tackle the job and he was bold in his approach. He emailed Loeb to say “I know you do these kids books, but …
In part 2 of our look at the career of Bob Mould, we examine his output in the ’90s, from his early solo work to the short-lived greatness of his band Sugar.
In this edition of Note for Note, we take a look at the music Bob Mould made throughout his storied career, starting with the Husker Du years.
Now that Rush is at long last in the Rock and Roll Hall of Fame, it’s as good a time as any to look at their best material… from the ’90s to today.
With a new R.E.M. album in hand, Annie Zaleski tackles the difficult task of assessing the latest offering by her favorite band.
Chris Holmes delves into Blind Melon’s 1992 debut album to see if there are any other nuggets past the hit single, “No Rain.”
It’s hard to believe (for those of us who lived it, anyway) that it’s been fifteen years since Kurt Cobain committed suicide. On April 5th, 1994, the Seattle native left the world with the same cold-water shock his band Nirvana had on the world when the album Nevermind broke in 1991. Some people saw Cobain’s death as inevitable; the signs were certainly there: There was the working title for 1994’s In Utero (a.k.a. I Hate Myself and I Want to Die). The lyrics for “All Apologies.” A prophetic MTV Unplugged set list (the caterwaul dÃ©nouement in “Where Did You Sleep Last Night?” still sends chills up the spine). A near-fatal drug/alcohol overdose in Rome during a European tour. Those Courtney Love divorce rumblings. Quite a hit parade. But to a larger degree, Cobain’s death has become a coda-like representation in our pop culture vernacular as the beginning of the end for the “grunge” era in Seattle. Greg Prato’s new book Grunge is Dead: The Oral History of Seattle Rock Music disagrees. The book attempts to …