Articles by Jason P. Woodbury

In Conversation: Thundercat Has a Thunderchat About “Drunk,” Yacht Rock

Plus: You’ve been calling Kenny Loggins by the wrong name all these years.

Dirty Projectors, “Dirty Projectors”

“Dirty Projectors” can at times be exhausting, and its density can feel crushing, but at their best, David Longstreth’s songs center on connection.

Mind Over Mirrors, “Undying Color”

While so often synthesizer music seeks to make the listener feel weightless, Jaime Fennelly finds beauty in binding, securing forces.

Avec le soleil sortant de sa bouche, “Pas pire pop, I Love You So Much”

On their second album, the Montreal quartet drill deep into the concept of groove.

Don’t Break Up Your Band: Matt Sweeney and Clay Tarver of Chavez Talk “Cockfighters”

Indie vets Chavez return after a twenty-year recorded absence with a surprising, vital set of songs.

In Conversation: Thomas Dolby Drops Science Like Galileo Dropped the Orange

After pop stardom, the “She Blinded Me with Science” singer set his sights on the intersection of music and technology.

Childish Gambino, “‘Awaken, My Love!'”

Like so many retro-leaning artists before him, Donald Glover riffles through classic sounds for a lens through which to view his modern anxieties.

I Was That Kid, Too: Twenty-Five Years of Nickelodeon’s “Doug”

How a comic about an anxiety-ridden “little gentleman” with a serious aversion to liver and onions became one of the most beloved cartoons of its era.

In Conversation: “You’re the Worst”’s Chris Geere on Our Duty to be Empathetic

The co-star of FXX’s alchemical comedy talks the season three finale, what to expect next—and the special linguistic privileges afforded the British.

Oil City Lights: How Houston’s Day for Night is Putting the “Arts” in “Music and Arts Festival”

The Gulf Coast humidity means things often get melded in Houston, but one gathering is blurring the line between music festival and art installation in a new way.

Breaking: Elsa Hansen

This isn’t your grandmother’s cross-stitching. Unless your grandmother has a thing for Paul Thomas Anderson and has sold work to Ai Weiwei.

John K. Samson, “Winter Wheat”

As he did throughout the tenure of The Weakerthans, Samson on his second solo record resolutely resists the tropes that so often plague singer/songwriters.

American Land: Mike Cooley of Drive-By Truckers Sets His Sights Beyond the South

On their eleventh LP, our finest chroniclers of life below the Mason-Dixon explore the duality of the American thing.

Preoccupations, “Preoccupations”

Death has always loomed over Canadian post-punk band Preoccupations.

Nathan Bowles, “Whole & Cloven”

The elements here are simple, but in Bowles’s capable hands these common tools are utilized in marvelous ways.

Thee Oh Sees, “A Weird Exits”

John Dwyer’s long-running powerhouse builds on the expansive sound of last year’s “Mutilator Defeated at Last.”

Morgan Delt, “Phase Zero”

The Topanga Canyon singer/songwriter/producer’s second LP—and Sub Pop debut—is defined by an immaterial dreaminess.

Pylon, “Live”

Chunklet releases a live recording of the vital Athens band’s final live performance before their 1983 breakup.

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