We’re not superstitious, just a little stitious (hence the delay).
Here’s a list of major new releases for the week of April 13, 2018. Please feel free to request reviews for any of the following albums from staff or contributors. As our staff post reviews of these albums, links will appear below the art work so that you can read about the release, see how we scored it, and more.
Featured Release
The Damned – Evil Spirits
Genre: Goth-tinged Punk
Label: Search and Destroy, Spinefarm UK
While this UK outfit might not always be mentioned in the same breath as The Clash or Sex Pistols, Evil Spirits is The Damned’s 11th LP and first in over a decade. Joining long-time stalwarts Captain Sensible and Dave Vanian is returning bassist Paul Gray, while the band recruited producer Tony Visconti due to their affinity for his work on David Bowie’s Blackstar. Lead single “Standing on the Edge of Tomorrow” and “Procrastination” are two highlights that showcase The Damned in 2018.
– Sample List of Releases: April 13, 2018 –
A Hawk and a Hacksaw – Forest Bathing
Genre: Eastern-tinged Indie Folk
Label: L.M. Dupli-cation
A Place to Bury Strangers – Pinned
Genre: Noise Rock
Label: Dead Oceans
Alexis Taylor – Beautiful Thing
Genre: Alternative / Indie
Label: Domino
I must confess that this is not my idea; having recently come across Tom Breihan’s ‘The Number Ones’ column for Stereogum, and in turn, Tom Ewing’s ‘Popular’ column for Freaky Trigger, I felt inspired to approach the format from my own geographical perspective; that is, review every single to reach number 1 on the ARIA Charts/Kent Report, and assign a numerical grade from 1-10. In the interest of brevity (and some pertinence), the column shall begin from July 1974, the date in which the initial Kent Report was first published commercially, and work forwards from there. Dependent upon time constraints and general interest, publishing of these articles will, similar to Ewing and Breihan’s columns, be daily. And now…
Daryl Braithwaite – “You’re My World”
6 January – 20 January 1975 (3 Weeks).
Perhaps one of the most underrated delights of exploring a history of Australian pop music is that I can accord some attention to songwriters that have either had a minimal presence in the US and the UK, or just plainly didn’t make much of an international dent to begin with. Daryl Braithwaite is one of those performers; having fronted Sherbet, he produced some of Australia’s biggest anthems including “Summer Love” and “Howzat,” whilst topping the charts in his own right with “One Summer” and “The Horses.” As an inductee to the ARIA Hall of Fame, he’s a national treasure; to those North of the equator, he’s Daryl Braithwaite.
Hello fellow metalheads and welcome to a post that will put the division symbol in m/. Metal music is not unlike a cult or gang, and any self-respecting gang has its own hand sign. For metal, it has been the metal horns. When you point at someone, you point 3 fingers at yourself; but when you do metal horns at someone, you point two to the ground, two to the sky, and your thumb to the side while you flash them with the European-popular symbol for being cuckolded and the hand symbol of about a dozen colleges. When metal fans post online, that symbol looks like this: m/. Or this: \m/. Or, according to wikipedia, this: \../ or /../.
The humble m/ can be taken as an endorsement of the quality or “metalness” of a piece of metal music; how often an m/ is associated with something is as good a proxy as any for this quality. So what if some brave soul counted these m/’s and disseminated this information to the world?
For this post, I went back to the album data from my Top 250 Users app data, and scraped comment data from the flagged reviews of 593 albums which were those that had any metal genre tag, had greater than a 4.0 average rating, and more than 200 ratings (all the data used to select albums was collected around November of 2016, so this sample is missing albums that have come out since, and that might have reached those criteria by now).…
To those of you who actually keep up with this: I thank you. This week’s interview was meant to have a ~secret~ guest, although he was unfortunately unable to make it tonight (therefore, he’ll be making his appearance on a future interview). But more importantly, I sat down with TheLongShot, fellow Beach Boys and Elton John enthusiast and talked for an ungodly amount of time (4hrs, 13mins to be exact). LongShot earned himself a one-way ticket to the frontpage with his stellar review of Kacey Musgraves’ Golden Hour, which can be read here.
Cocaine is a hell of a drug.
So, with every interview, as redundant as it is, how did you discover Sputnik? Was it the rockin’ Web 2.0 layout or the ghost town-esque comment section at 5 A.M. that attracted you to mx’s humble abode?
Amazingly, the aesthetic was not the main draw. I had known of Sputnik for some time, but I hadn’t bothered to check it out further until about a year ago. I’m the head administrator of this other music-related website called The Range Place, and one of the primary contributors on there is a semi-frequent Sputnik poster (he goes by IhateMana on TRP and Jasdevi087 on Sputnik). After hearing him talk it up on the TRP Discord, I decided to check it out, and within one day I had made an account, posted a review for Queen’s Innuendo, and also posted a…
Here’s a list of major new releases for the week of April 06, 2018. Please feel free to request reviews for any of the following albums from staff or contributors. As our staff post reviews of these albums, links will appear below the art work so that you can read about the release, see how we scored it, and more.
Featured Release
Hypno5e: Alba: Les Ombres ErrantesGenre: Post Metal/Progressive/Acoustic // Label: Pelagic Records
Hypno5e has always been a band that required a bit of effort to fully get into. It wasn’t just that their sprawling post metal/prog/djent sound demanded a listener’s full attention, it was also the extended song lengths and frequent spoken-word monologues. Alba brings post metal structures, progressive tendencies, and even some djent rhythms, but it also gives listeners a new hurdle to overcome… it’s entirely acoustic. Of course, Albra isn’t the first time the band have dabbled in acoustics, but they had previously been brief and buried between more abrasive walls of sound. Surprisingly, the band pull it off really well… even if they still haven’t dropped the damn monologues.
Song Title: Who Wakes Up from this Dream Does Not Bear My Name
– Full List of Releases: April 06, 2018 –
30 Seconds to Mars: America
Genre: Alternative // Label: Interscope
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The Aces: When My Heart Felt Volcanic
Genre: Indie Rock // Label: Red Bull Records
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Alice Merton: No Roots
Genre: Indie Pop // Label: Mom + Pop
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I must confess that this is not my idea; having recently come across Tom Breihan’s ‘The Number Ones’ column for Stereogum, and in turn, Tom Ewing’s ‘Popular’ column for Freaky Trigger, I felt inspired to approach the format from my own geographical perspective; that is, review every single to reach number 1 on the ARIA Charts/Kent Report, and assign a numerical grade from 1-10. In the interest of brevity (and some pertinence), the column shall begin from July 1974, the date in which the initial Kent Report was first published commercially, and work forwards from there. Dependent upon time constraints and general interest, publishing of these articles will, similar to Ewing and Breihan’s columns, be daily. And now…
Carl Douglas – “Kung Fu Fighting”
16 December – 30 December 1974 (3 Weeks).
Perhaps the best argument against the posterity of the charts and certain song’s placement within them is that they often fete cultural moments that are decidedly one time only. Of course, there’s nothing wrong with the virtue of being inane and mindless; however, when oriental riffs become lodged into critical discussions like this, it’s hard not to condescend to the source material. Which is a literary way of saying: this thing hasn’t aged well.
Having said that, it wouldn’t have aged well even if society decided that the main riff for this song is just slightly offensive retrospectively. Regardless of all of that discussion, it’s a…
I must confess that this is not my idea; having recently come across Tom Breihan’s ‘The Number Ones’ column for Stereogum, and in turn, Tom Ewing’s ‘Popular’ column for Freaky Trigger, I felt inspired to approach the format from my own geographical perspective; that is, review every single to reach number 1 on the ARIA Charts/Kent Report, and assign a numerical grade from 1-10. In the interest of brevity (and some pertinence), the column shall begin from July 1974, the date in which the initial Kent Report was first published commercially, and work forwards from there. Dependent upon time constraints and general interest, publishing of these articles will, similar to Ewing and Breihan’s columns, be daily. And now…
Olivia Newton-John – “I Honestly Love You”
18 November – 9 December 1974 (4 Weeks)
It’s possible that “I Honestly Love You” invented the tired cinematic trope of the ironic soundtrack choice. When it appears in Jaws, Alex and his dog disappear; all the while, Olivia Newton John hums on the radio, soft, lulling, delicate, and unassuming. The song was barely a year old at the time, but its subverted and mismatched application makes it feel as if were always somewhere there, tucked away in the scenery.
In part, that’s because this is the 1970s, and this is Peter Allen, so the nostalgia felt is integral to the composition. Heard as it were, it’s a plainly inoffensive and lilting performance from John, who, removed from Grease…
We missed a quarter or two, but who’s counting? The infinite playlist has been a Sputnik tradition ever since I can remember, and we’re back baby! Jom was kind (or cruel?) enough to let me organize the playlist this year. Some coercion may have been involved, but it made for 30 creative and biting blurbs this time out. With such a diverse range of tastes among the staff, this edition has a little big of everything to sink your teeth into…
Don’t forget to check the Spotify playlist below in addition to skimming through the blurbs! The best part about this whole thing is branching out and listening to something you wouldn’t normally stumble upon.
All The Luck In The World – “Golden October” A Blind Arcade Listen if you like: Frightened Rabbit, Elliott Smith, Horse Feathers
Perhaps no better example of A Blind Arcade‘s beauty could be cited than “Golden October.” The album’s third track offers up poetic melodies that experiment with time signatures, as well as wintry effects that instill an absolutely breathtaking atmosphere. The whole thing commences with some simply strummed chords, introduces strings, slowly emphasizes the force of each drum beat, and eventually alters the vocal melody to rise and meet the intensity that the rest of the song has already arrived at. The way it all happens so subtly is a thing of beauty, and by the song’s final minute you’ll be totally spellbound. –Sowing
Here’s a list of major new releases for the week of March 30, 2018. Please feel free to request reviews for any of the following albums from staff or contributors. As our staff post reviews of these albums, links will appear below the art work so that you can read about the release, see how we scored it, and more.
Featured Release
Augury: Illusive Golden AgeGenre: Technical Death Metal // Label: The Artisan Era
Great technical death metal that is able to show off all the skills while still managing to be memorable, heavy, and even occasionally melodic. The bass player, in particular, deserves a mention here because he is definitely the star of the show, even if he is sometimes buried in the mix during the more chaotic moments. If there is a flaw, it is the vocals. They’re just a little too two-dimensional for me, but they get the job done.
“The Living Vault”:
– Full List of Releases: March 30, 2018 –
Alena Bernardi: Beautiful Moment
Genre: Pop/Singer/Songwriter // Label: Community Records
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Augury: Illusive Golden Age
Genre: Technical Death Metal // Label: The Artisan Era
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Barren Earth: A Complex of Cages
Genre: Progressive Death/Doom // Label: Century Media
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Ben Harper & Charlie Musselwhite: No Mercy In This Land
Genre: Blues/Rock //…
I must confess that this is not my idea; having recently come across Tom Breihan’s ‘The Number Ones’ column for Stereogum, and in turn, Tom Ewing’s ‘Popular’ column for Freaky Trigger, I felt inspired to approach the format from my own geographical perspective; that is, review every single to reach number 1 on the ARIA Charts/Kent Report, and assign a numerical grade from 1-10. In the interest of brevity (and some pertinence), the column shall begin from July 1974, the date in which the initial Kent Report was first published commercially, and work forwards from there. Dependent upon time constraints and general interest, publishing of these articles will, similar to Ewing and Breihan’s columns, be daily. And now…
Paper Lace – “The Night Chicago Died”
23 September – 11 November 1974 (8 Weeks).
It’s difficult to be enthused about Paper Lace in the retrospective; their other hit, “Billy Don’t Be a Hero,” is a relic, and proof enough that chart success does not always signal timelessness, or any measure of ongoing interest. It’s also not very good, but a lot of that can be attributed to production that has naturally deteriorated over time. You can forgive them, but you can also forget them.
Much like “Billy,” “Chicago” found more fame when Bo Donaldson and the Heywoods’ rendition topped the US charts. However, in doing so, they also managed to piss off Chicago mayor Richard Daley, and make an assortment of geographic and…
I must confess that this is not my idea; having recently come across Tom Breihan’s ‘The Number Ones’ column for Stereogum, and in turn, Tom Ewing’s ‘Popular’ column for Freaky Trigger, I felt inspired to approach the format from my own geographical perspective; that is, review every single to reach number 1 on the ARIA Charts/Kent Report, and assign a numerical grade from 1-10. In the interest of brevity (and some pertinence), the column shall begin from July 1974, the date in which the initial Kent Report was first published commercially, and work forwards from there. Dependent upon time constraints and general interest, publishing of these articles will, similar to Ewing and Breihan’s columns, be daily. And now…
Stevie Wright – “Evie”
12 August – 16 September 1974 (6 Weeks).
I don’t much care for nostalgia; I especially despise nostalgia that puts the burden of ambition on the present because, supposedly, those in the past were the only ones brave enough to pave the way for ill-thought, impulsive, and indulgent expression. In the context of “Evie,” it’s nostalgia for the plodding, mammoth rock songs of yesterday, and the particular way in which extended suites are apparently not attempted in this modern scene (although the success of songs like “Runaway” certainly challenge that notion, but rockism is only a minor point of contention in this dialogue). Rock songs— specifically, ridiculous and unnecessarily long rock songs— have always had an audience, as “Stairway to…
I must confess that this is not my idea; having recently come across Tom Breihan’s ‘The Number Ones’ column for Stereogum, and in turn, Tom Ewing’s ‘Popular’ column for Freaky Trigger, I felt inspired to approach the format from my own geographical perspective; that is, review every single to reach number 1 on the ARIA Charts/Kent Report, and assign a numerical grade from 1-10. In the interest of brevity (and some pertinence), the column shall begin from July 1974, the date in which the initial Kent Report was first published commercially, and work forwards from there. Dependent upon time constraints and general interest, publishing of these articles will, similar to Ewing and Breihan’s columns, be daily. And now…
Paper Lace – “Billy Don’t Be A Hero”
17 June – 5 August 1974 (8 Weeks).
In the heat of Vietnam, “Billy Don’t Be A Hero” became associated with a reflexive opposition to the condemned Indochinese conflict; pop culture had gone to such great heights to illustrate the crude, imperialistic, and toxically masculine overtones of the war, and, at least for Australia who had contributed more than 7000 military men and had approximately half of them return dead or injured in 1971, the opposition resonated. Not least of all because Vietnam vets were soon being spat on and excluded from RSL clubs and parades; hostility toward military presence in Vietnam lingered long after the conflict, as it did in the US and elsewhere.
On the third round of interviews, I’ve received the opportunity to pick at ‘ol Young Bloon, resident Ween fan #2 and devoted Goofcore (what is it???) follower. I proceeded to stuff my face with chinese food as he told me his life story and then some, but when it came down to it, Bloon was just like me: another dude on his computer on a Friday night. How did this turn out? Wonderfully…as wonderful as Billywitchdoctor.com showing up at your front door, perhaps. If you want to know Bloon some more, just peep his stellar review for Deen Ween’s Rock2 here.
You won’t like Bloon when he’s angry…
I’m gonna start this off relatively simple, something everybody’s gotta a story for: how did you find Sputnik? Were you forced to sign up one day at gunpoint or were you feeling ~experimental~ in your teenage curiosity? Although, I could be entirely off the mark and you may be some 40-something roleplaying as a teenage boy on the internet….just like my Dateline VHS!
Well, it’s probably more close to the first one. A very good friend of mine, on Sput as BBGames, called me one day on Skype and told me to make an account, saying we could keep track of the albums we listened to. I joined the same day and started rating my CD collection. I’ve only been on the site for a little bit but I am very glad he told me…
Here’s a list of major new releases for the week of March 23, 2018. Please feel free to request reviews for any of the following albums from staff or contributors. As our staff post reviews of these albums, links will appear below the art work so that you can read about the release, see how we scored it, and more.
Featured Release
McCafferty: YarnGenre: Post Hardcore/Indie/Pop Punk // Label: Triple Crown Records
Mixing pop punk, post hardcore, and a little bit of indie rock, McCafferty are back with their latest release, Yarn. Picking up right where they left off, “Loser” is short, catchy, and features everything the band is known for; twisted, humorous lyrics and catchy, upbeat poppy post hardcore.
“Loser”:
– Full List of Releases: March 23, 2018 –
The Absence: A Gift For the Obsessed
Genre: Melodic Death Metal // Label: M-Theory Audio
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Blessthefall: Hard Feelings
Genre: Metalcore/Post Hardcore // Label: Rise Records
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Here’s a list of major new releases for the week of March 16, 2018. Please feel free to request reviews for any of the following albums from staff or contributors. As our staff post reviews of these albums, links will appear below the art work so that you can read about the release, see how we scored it, and more.
– Full List of Releases: March 16, 2018 –
Alva Noto: Unieqav
Genre: Electronic // Label: NOTON Records
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Bill Frisell: Music Is
Genre: Jazz // Label: Sony Masterworks
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Bishop Nehru: Elevators Act I & II
Genre: Rap // Label: Nehruvia LLC
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The Crown: Cobra Speed Venom
Genre: Thrash/Melodic Death Metal // Label: Metal Blade Records
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The Dean Ween Group: Rock 2
Genre: Alternative/Pop Rock // Label: Schnitzel Records
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The Decemberists: I’ll Be Your Girl
Genre: Alternative // Label: Capitol Records
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Earthless: Black Heaven
Genre: Psychedelic/Jam Rock // Label: Nuclear Blast Records
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Eyes Of The Sun: Chapter I (Reissue)
Genre: Doom/Sludge // Label: Metal Blade Records
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The Fratellis: In Your Own Sweet Time
Genre: Alternative/Indie Pop // Label: Cooking Vinyl
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Hot Snakes: Jericho Sirens
Genre: Punk/Post Hardcore // Label: Sub Pop Records
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