I’ve been listening to Chris Whitley for more than 20 years. At first, I was resistant to enjoying his music — how ridiculous we can be. I was in my early 20s, and I met a lanky guy who had grown up in international schools, and had a penchant for open tunings. He spoke in a soft American accent, he played guitar brilliantly, and he was outrageously cool. He leant me a record called Living with the Law and I scoffed at it. The man on the cover looked trapped in that weird, out-of-touch crossroads hangover between the ’80s and the ’90s. At the time, I was discovering indie music — and this seemed the anathema to it. I mocked it, tossed it aside, and dug my heels with immature abandon.
However, I had listened to it. And after hearing it a few times, the hooks were in. The title track truly is one of the great openers of the ’90s — grudgingly, I could not deny the pockets of beauty in the space created by those soft, chalky chord changes. The voice sounds as if it comes from a wagon trail, a passenger exiting a taxi, a shortwave radio, a factory PA, or a campfire hidden in an unending canvas of pine trees. Chris Whitley sounds of the city and the country, and of any age.
Whitley never achieved much fame beyond that album; he always…
Another year, another grid! Yes, yes, half a year late, but I couldn’t live with myself if there was a gap year, and I couldn’t risk letting such beautiful (or decidedly not beautiful) album covers go unnoticed. As always, this list is neither ranked nor listed in any logical order, but rather ordered through an aesthetic progression of color, framing, and connective imagery. This is by no means an exhaustive (though it was exhausting) list of 2022’s best album artwork, but I did do my best to provide covers of varied styles, genres, and backgrounds. I’m sure some will let me know if I didn’t succeed! For now, I’ll let the artworks speak for themselves.
Welcome to the second edition of Sputnikmusic’s very special round table interview featuring the site’s Contributors! In this multi-participant discussion, the team shall face several serious and humorous questions to give them the opportunity to let them shine and introduce themselves. However, instead of throwing questions towards each other this time around, garas volunteered to be the host of this interview. We hope you’ll enjoy it!
garas:Hello everyone, it’s garas here! In the latest promotion event several new people were blessed with the opportunity to become members of the Contributor team. So, let’s start with the most important question you all are probably wondering about:
1a) What is your favourite caffeine source (if there is any), and 1b) also, who the hell are you?
Just to give an example:I love espresso con panna the most. Also, I’m garas, AKA Gary the Grumpy, the local dungeon synth/black metal enthusiast in the team. Otherwise, just a regular metalhead from Hungary who loves cats and fantasy books and games a lot.
The MoC looking sufficiently grumpy.
fogza: I’m currently in love with milk replacements, so my go-to is the coconut milk latte, or as they call it at Pret: the coco latte. I’m fogza, your regular indie fan and traditional song format enthusiast, originally from South Africa but now residing in the UK.
They say you were something in those formative years…
For many, our love of music begins with the influence of our family and friends. I can remember my mom blasting Hendrix so loud the windows shook and I could feel it through the stool I was sitting on. Or hunched by the kitchen window watching the spread of milky coldness on the glass while my father cooked with Paul Simon singing “Mother and Child Reunion”. Still later, I would remember my brother buying Bon Jovi patches for his denim jacket.
There does come a time when something we hear goes beyond our inheritance. When I consciously chose an artist that no-one else championed, it changed what music did for me — it became an expression of my personality. Musical taste, to me anyway, is sometimes an instinctual compass that unlocks a part of who we are. These are some stories about those moments, as told by our contributor team. –fog
Red Hot Chili Peppers
My first real love in life was skateboarding. From the age of 7 upward, it was all I would do with my time. I’d take my horrible factory-made deck out into the school carpark down the road from my house and spend hours on end trying to slappy curbs and ollie manhole covers. Eventually, when I’d skinned my knees enough or twisted my ankle so badly I…
They say you were something in those formative years…
For many, our love of music begins with the influence of our family and friends. I can remember my mom blasting Hendrix so loud the windows shook and I could feel it through the stool I was sitting on. Or hunched by the kitchen window watching the spread of milky coldness on the glass while my father cooked with Paul Simon singing “Mother and Child Reunion”. Still later, I would remember my brother buying Bon Jovi patches for his denim jacket.
There does come a time when something we hear goes beyond our inheritance. When I consciously chose an artist that no-one else championed, it changed what music did for me — it became an expression of my personality. Musical taste, to me anyway, is sometimes an instinctual compass that unlocks a part of who we are. These are some stories about those moments, as told by our contributor team. –fog
U2
It’s 2005. 2006? The exact year doesn’t matter. I’m 9, maybe 10 years old, and clearly don’t know much about how the world works, but I harbor an unquenchable need — as the oldest child in my family, as the son of a teacher and a preacher, as someone with all the love and support you could ask for, Maslow’s first three needs safely met — to present…
The city of Columbus has changed much over the past decade. Ohio’s reputation as ‘that lame Midwestern state’ certainly persists, but it’d be hard to figure that when observing the growth of the state’s capital; it’s undergoing one of the highest growth rates of all Midwestern metropoles. It’s no longer simply a domain for the Buckeye faithful (and the broken, battered Blue Jackets fans), but a combination of diverse people arriving from all corners of the United States. It’s a change that can be observed in the heightened enrollment rates of The Ohio State University. It can be felt in the explosive crowds filling the stands of the novel Lower.com stadium. It can be witnessed in the outdoor Shakespeare shows and the sprawling Arts Festival. Most importantly, for us at least, it can be heard in the bustling live music scene.
As a consequence of Columbus’ rise to prominence, its music market has considerably increased. Beyond the multitude of stadiums and theaters that can serve as concert venues, there are a plethora of smaller locales with their own personality and show miscellany. A trip to north downtown’s King of Clubs might feature the legends of melodic death metal Dark Tranquillity, a brutal combo of Thy Art is Murder and After the Burial, or an amateur wrestling display. KEMBA Live can provide The Shins, Wiz Khalifa, or Meshuggah. For something off the beaten path, The Rambling House exhibits bluegrass jam sessions, jazz and stand-up comedy. Regardless of…
It should bear no repeating, yet I’ll do so once more for those in the back: modern metalcore is in safe hands. Bands come and go, trends rise and fall, but the genre is a resilient one; a slew of acts have come to prominence in the past decade, each one eager to carve out a slice of the heavy music listening base. After an arduous day of stress, responsibilities and other such clutter, there’s no better release than a masterful breakdown or sudden barrage of discordant riffs. It’s an adrenaline rush that continuously defines the classification in a unique manner. Rest assured, this new school has officially taken up the mantle in their own ways, be it unabashed chaos, groovy swagger, or genuine emotion. Essentially, whatever one desires out of a -core package, the genre can quickly offer an appropriate escape. Combine all three approaches and a wondrous idea is formed: a tour across the nation featuring some of the hottest names mentioned in the underground. There’s always an audience hungry for the unrelenting pandemonium live metal shows can provide — something evident in the frantic mosh pits and equally energetic stage antics. Thus, the Beautiful Coma Tour was constructed: an epic union of Limbs out of Florida, Kentucky’s own Greyhaven, and The surprisingly-not-from-Dallas Callous Daoboys. As could perhaps be predicted, it was a match made in heaven.
Fans of the expanding Columbus underground scene gathered…
Welcome to sputnikmusic’s (first ever?) roundtable interview, featuring the contributors! The goal is to create an opportunity to illuminate some of the current contributing team, like how it goes with the staffers in the ongoing Staff Wars series: questions and answers in a cozy interview. But there is a twist: we ask and answer the questions by all of us! We hope you’ll enjoy it.
List of participants (alphabetical order): dedex, dmathias52, Evok, garas, JesperL, Kompys2000, Koris, linguist2011, neekafat, Sunnyvale, tyman128, YoYoMancuso
[Because this roundtable spanned several months, some responses have been edited for clarity.]
Question 1, via garas: Who the hell are you, and what is your spirit animal?
garas: I’m the resident grumpy Hungarian who doesn’t care about just riffs and ambiance (or cats and craft beers) — I’d say it’s the perfect match to my biologist career. It’s darker than you think! [Carpathian Forest starts playing in the background] Also, my spirit animal would be:
garas’ face every morning
dedex: I’m a Franco-Belgian idiot who likes way too many genres to properly focus on one. I’m a data analyst, so I spend my days looking at stuff and listening to music — dope! My spirit animal is France’s national emblem: the rooster (also called ‘the cock’), ’cause it’s the only animal that can sing with both feet deep in…
Once again, out of sheer obsession and love for visual art, I have compiled my 100 favorite album covers of the year. Keep in mind that this list is not ranked in any way, instead ordered left to right by aesthetics, imagery, and framing, with an emphasis on color this year. There is so much great album artwork that was left on the cutting room floor, and I’m sure there is an even greater number of albums that I didn’t happen to catch. 100 seems like a lot until you have to start cutting it down! I hope you enjoy these covers as much as I do!
Click or tap the 10×10 grid to see 2021’s high-res image. To see 2020’s featurette, click or tap here. –neekafat
While there was certainly no shortage of exceptional metalcore releases in 2018, one in particular possessed a level of ingenuity in its craft that deserved far greater praise. Despite their underground status, Noise Trail Immersion managed to emerge from the depths to secure a portion of the spotlight, revealing to a broader audience their expertise over technicality and atmosphere. Their brand of post metalcore contained a frighteningly aggressive quality owing to influence from black metal titans of the modern day. Such a combination bred a sophomore record that immersed listeners in a realm of psychological terror, portraying the decomposition of one’s mind as it travels through stages of nihilism, a loss of faith, and an eventual acceptance of cognitive demise. It was a blockbuster album towering above a stacked field of aspiring artists; few were able to contend with the level of songwriting the young group displayed so early in their career.
Creating such an experience, let alone constructing a worthy sequel, is a tall order for any collective to fulfill. After a prolonged period dedicated to arranging this long awaited album, the band joined forces with I, Voidhanger Records in order to house their latest creation. Considering how highly I value the nascent body of work cultivated by Noise Trail Immersion, comprehending the process that motivated their efforts immediately caught my interest. With the upcoming third disc approaching on the horizon, primed for takeoff to impose further dissonant riffs upon the masses, I had a conversation with primary composer…
After years of procrastination, deep into my 2020 lockdown, I decided to turn my love for album artwork into something concrete. Drawing off of my previous quarterly lists, I’ve spent the past year curating a compilation of the 100 most impressive and beautiful album covers of the year. The art is not ranked, but ordered through vague aesthetic similarities from color to framing to iconography. This list is not exhaustive, of course, as there were a plethora of stellar works that made it extremely hard to boil it down to just these albums. Special thanks to the user someone for his huge help in finding some of these hidden gems. Here’s to another year of beautiful artwork!
Click or tap the 10×10 grid to see the high-res image.
For a high-res image with each album listed, click or tap here. –neekafat
Black Thought // Streams of Thought, Vol. 3: Cane & Able
It’s back! By popular demand, some of us contributors (current, former, and new) sat down to introduce ourselves to genres that people in general and we in particular tend to avoid, as recommended by you, the users. Here’s what we thought…
HARDCORE PUNK
Recommended by cvlts
Assigned to neekafat
Before listening to your two songs, what’s your opinion of hardcore punk?
I mean, all that I really know about the genre is from the classic days of the Misfits and Minor Threat. I’m admittedly not super into those bands (I know, heresy), which is probably why I haven’t looked too deep into the modern equivalents. There’s something so simple about the musicianship to those bands that never quite got me interested (if I want aggression I’d probably just listen to thrash or something), but I’ve always respected the genre and try to keep an open mind.
Nails — “Endless Resistance”
Okay so I won’t lie, I know this band from my decade cram list last year (I jammed Unsilent Death), and I thought these guys were technically grind? This song is definitely not dissuading me from the fact that this is more metal than anything, but I’m kinda into this. The vocals have a weird nu-metal vibe to them and the pace is a bit more sluggish than I’m used to from hardcore. The guitars…
Outside of the incredible musical content, the fleeting existence of No Note as a band was captivating to me; their work seemingly arrived and departed without any explanation. Here was a collection of tracks with titles taken from the Red Hot Chili Peppers, a despairingly brief band biography, little to no information on contributing members, and so on. Questions heavily outweighed any answers. Perhaps leaving the book closed as-is would have kept the album in a sort of open ending where the conclusion was left to the listener However, on a whim, drummer Robert Murray reached out after having read my review for if this is the future then I’m in the dark. One impromptu, casual conversation-turned-interview later, and the story surrounding the mysterious record began to crystallize. Here’s the result of my time with Rob, who graciously gave his time to discuss how No Note came to be, what made it work, what made it come apart, and how to cope when negativity surrounds you.
Mars/Mitch: I know this is rather an open question, but this it’s probably one of the more burning ones I’ve got: what exactly was No Note? The bio was like an obituary and there seems to be so little information on you guys. Was it a band or was it more of a one-off?
Rob: It was a normal band. wasn’t just a project intended to be a one off. Dave, Nate and myself all played…
A monthly curated bite of word salad on the hottest new tracks to come out across the globe, targeting artists of all genres and popularities. Brought to you by myself and a few other friendly writers, this blog series intends to inspire something new yet familiar to this wonderful music review site. This first post is purposefully short; I know for a fact there’s many others out there like me who do the daily Spotify / new music release check’n’scroll, people that are just dying to get their opinions out about their favorite (or least favorite) singles of the week! If you see something that’s missing, don’t just tell me how derivative and basic my music taste is, go and prove it by writing the hell out of a 1-paragraph review for whatever recent single you think will win you those imaginary obscurity points. Best part? You can act like your favorite staffer by giving out a nifty .1 incriminate rating! Just track me down and give me a Gmail friendly email address whenever you have the review, streaming link, and single information typed up. Without further ado, here’s the very first edition of the Spotlight Singles Series, featuring special guests ArtBox and AsleepintheBack!
We all know how sophomore efforts go; slumps, successful refinements/reinventions/re-etc., sometimes a healthy mix of both. And sometimes they just sound like…
Marrying the sound of bands like Big|Brave or True Widow with the imagery of Dr. Who (the connection makes a lot of sense in my head somehow), this couple from New Zealand were one of my most precious discoveries this year. Heavy fuzz, with emphasis on heavy, splattered with psychedelia, prog rock, and vocal acrobatics. In just 30 minutes, Gussie Larkin (also of psyche pop act Mermaidens) and Ezra Simons will take you on a journey through microscopic worlds and galactic wonders unlike anything you’ve seen. –Dewinged
I’ve barely spent enough time with this record to be repping it this much, but needless to say I was immediately captivated by this hidden gem. If you’re someone who can accept its instantaneous turns between forlorn indie folk, straight-up country, and expansive alternative rock (and sometimes all three at once), then look no further. Roberts manages to spin all these contradictory elements into something that might not be wholly cohesive, but sells each individual feeling as true and exciting from moment-to-moment. So let’s make a deal: I’ll give this a few more listens while I give y’all a chance to catch up and get on this! –neekafat
