Category: From the Archives
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“I’m always trying to find the craziest sound, you know—the thing that sounds the least like it comes from Earth,” says Tame Impala’s Kevin Parker.
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Digging through the archives, I discovered that I have actually written about Mother Mother quite a lot over the years, so I have decided to split this blog post into two installments. This is the second.
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Mother Mother released its 10th album, Nostalgia, earlier this month. With the group spending its summer touring across Europe, it seemed timely to revisit my past interviews with frontman Ryan Guldemond. I have actually written about Mother Mother quite a lot over the years, so I have decided to split this blog post into two…
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Inspired by the recent release of Something Better Change, Scott Crawford’s documentary about D.O.A.’s Joe Keithley and his evolution form punk rocker to politician, I dug through the Georgia Straight archives and unearthed all the times I have interviewed Keithley over the years.
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If you were lucky enough to have been among the select few curious indie-rock fans at the Royal when Interpol made its Vancouver debut at that long-defunct Granville Street venue in 2002, you might very well have been instantly turned into a fan for life. That’s the effect it had on me, at any rate,…
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Ghost’s success is all the more impressive when you consider that it’s a heavy-metal band from the small city of Linköping whose members’ identities are concealed behind masks, makeup, and silly names. Oh, and they also write songs about Satan.
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Revisiting the two opportunities I have had (to date) to interview Killers frontman and all-around nice guy Brandon Flowers.
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With the band’s future uncertain—a run of “farewell” concerts has been announced, but there is talk afoot that Mew will actually continue without frontman Jonas Bjerre—it seemed like a good time to revisit some of the times I have had the opportunity to interview various members of the band over the years.
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His music is as likely to include the sounds of endangered songbirds as it is woozy waltz rhythms or marching-band brass. His lyrics read like the free-association ramblings of a man well-versed in the work of Lewis Carroll and Edward Lear, to say nothing of Syd Barrett. If that makes Cosmo Sheldrake sound like an…
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t’s a hell of a way to start a pop record. “Shanty for the Arethusa”, which kicks off Her Majesty the Decemberists, begins with the creaking and groaning of a mist-shrouded clipper in some forsaken Victorian outport, followed in short order by the sharp sound of a woman’s scream.
John Lucas 