Upon closer examination, the Saturday lineup proved to be the most stacked of the day, a result that proved a fortuitous coincidence with another smooth day of sailing through parking, security, and the festival lines to arrive at the fest just in time for Big Thief around 3 p.m. While I’ve always been a fan of their somewhat off-kilter live show, Big Thief’s confessional, contrasting components – their guitarist’s uh, unique style has to been seen to be believed – was always going to be a bit of an odd fit at Coachella. Singer and frontwoman Adrianne Lenker always performs like she’d rather be anywhere else rather than on stage, but the small crowd was thrilled nonetheless.
As great as the lineup was, it presented a series of conundrums that have me seriously trying to finagle a wristband for weekend two just to go again Saturday (see that Missed Connections list *crying emoji*). I’d seen bands like First Aid Kit and Django Django before – in the interest of trying something new, I ventured to the Yuma tent for the first time all weekend to check out former Daft Punk manager and Ed Banger mascot Pedro Winter aka Busy P spin some old fashioned electro house to get out of the rapidly increasing temperatures. The Yuma tent remains the preeminent vibe for people younger than me to get fucked up in, and while I continued to enjoy the air conditioned environs and the relentless grooves, the…
When I first started attending and writing Coachella (way back in 2010 and just a couple weeks before this lovely website took me on as a staff member :0), I camped with the degenerates in the camping grounds and bought my ticket at the door. There was something liberating about being able to simply pack up for the desert a few days before the weekend to watch some of the biggest acts in the alternative scenes play in one of the most beautiful yet inhospitable environments on the planet. Eight years later, Coachella is very much the same: a gorgeous piece of scenery full of beautiful people and artists looking to either make a name for themselves or secure stardom. It’s a one of a kind experience, the only festival in the United States that has such a distinct vibe, sound, and a carefully curated aesthetic – tied up in the art, music, design, interactive experiences, and even food – that I promised myself I would keep coming out so long as my body obeys. At 29, I’m nearing the outer edge of the average Coachella attendee. The last thing you want to be is the old, balding guy busting out the rave shuffle in the Sahara tent. Even still, it would take a lot for me to stop altogether, especially with the sweet, sweet media access Sputnik can deliver.
With the addition of a second weekend in 2012, however, Coachella began to transform into the mainstream…
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…
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