Author: Gillian G. Gaar

But it’s the more topical songs that resonate the most here. There’s righteous anger, but also hope, as well as a welcome reminder that you’re not alone in the struggle.

The second disc has enough good stuff on it that you’re left wanting more. The live tracks by Alice in Chains (“Would?” and “It Ain’t Like That”) and Soundgarden (“Birth Ritual”) are so great, when Crowe writes in the liner notes that the live masters “have been glowing in my closet for many years” you hope that means there’s more to come someday.

This is an album of gorgeous sounds and potent thoughts that you get more out of with successive listen, as you’re drawn deeper and deeper into the magical, mystical, ominous world that Golden Gardens creates.

This isn’t modern day, high energy, too-many-BPM electronica/techno/dance/rave. This is electronic music to listen to and be absorbed by.

But despite the lyrical gloom, the songs are engaging; Smith’s delivery is wry, not despairing. That’s something that’s more apparent on the bonus tracks, most of which are live songs culled from Smith’s set at the 1997 Yoyo a Go Go Festival in Olympi

Over time, Ultramega OK came to be seen as just a first effort, a rough draft, a record that simply laid the groundwork for what was to come. But the new mix casts the album in a whole new light. If you haven’t heard Ultramega OK in a while, give this new version a listen. You might be surprised.

You’ve gotta hand it to them, Buzz Osborne and Dale Crover have to be some of the hardest working musicians

Just in time for the inauguration, or, more accurately, doomsday, comes Battle Hymns, a record specifically designed to rally your

  Sleater-Kinney’s reunion was one of the best things that happened in music in 2015. The announcement that they were

A Woody Guthrie renaissance started last year, with the publication of Greg Vandy and Daniel Person’s 26 Songs in 30

Even at the height of “grunge,” being in Soundgarden wasn’t enough for Ben Shepherd. In 1993 he formed a side

One evening in 1996, 7 Year Bitch played what would be one of their last Seattle shows at Moe’s Mo’