Velvet Underground View

The legend has it that Lou Reed was at his best in the late 1960s and the 1970s but this album challenges that view. It is also blessed with a really interesting set list with anything from Transformer or The Velvet Underground staples like Sweet Jane, Rock & Roll, I’m Waiting For The Man and White Light White Heat. He doesn;t ignore the Velvets but dusts down several of the other well known songs.

The legend has it that Lou Reed was at his best in the late 1960s and the 1970s but this album challenges that view. It is also blessed with a really interesting set list with anything from Transformer or The Velvet Underground staples like Sweet Jane, Rock & Roll, I’m Waiting For The Man and White Light White Heat. He doesn;t ignore the Velvets but dusts down several of the other well known songs.

"The best music reflects a wide-screen view of the world back at us, helping distill the universal into something far more personal. Since forming in Austin in 2004, The Black Angels have become standard-bearers for modern psych-rock that does exactly that, which is one of many reasons why the group’s new album, Wilderness of Mirrors, feels so aptly named.

British punk began as a movement of self-proclaimed artists, thick with half-baked theories and aging hipsters trying to artificially stimulate a youth movement of their own. Hyperactive first-wavers Eater, however, offered a glimpse of what punk would soon become, the province of aggressive, inarticulate teenagers with a "loud-fast rules" philosophy that trumps any other consideration. The genuinely teenage Eater (ranging in age from 13 to 17) weren't interested in the Queen or White Riots; they wrote songs about daydreams, hot girls in math class, and bad-taste fantasies of prostitutes and necrophilia. All songs on their sole full-length release sound about the same, played with one stiff light-speed beat and a snotty vehemence to each track, adding up to a ridiculous classic. As fast and clumsy as the material is, there's an undeniable tunefulness at work, particularly in irresistible singalongs like "No Brains" and "Room for One," and the sprightly single "Lock It Up" even attempts some naïve vocal harmonies as they sneer at the upper classes.

British punk began as a movement of self-proclaimed artists, thick with half-baked theories and aging hipsters trying to artificially stimulate a youth movement of their own. Hyperactive first-wavers Eater, however, offered a glimpse of what punk would soon become, the province of aggressive, inarticulate teenagers with a "loud-fast rules" philosophy that trumps any other consideration. The genuinely teenage Eater (ranging in age from 13 to 17) weren't interested in the Queen or White Riots; they wrote songs about daydreams, hot girls in math class, and bad-taste fantasies of prostitutes and necrophilia. All songs on their sole full-length release sound about the same, played with one stiff light-speed beat and a snotty vehemence to each track, adding up to a ridiculous classic. As fast and clumsy as the material is, there's an undeniable tunefulness at work, particularly in irresistible singalongs like "No Brains" and "Room for One," and the sprightly single "Lock It Up" even attempts some naïve vocal harmonies as they sneer at the upper classes.

British punk began as a movement of self-proclaimed artists, thick with half-baked theories and aging hipsters trying to artificially stimulate a youth movement of their own. Hyperactive first-wavers Eater, however, offered a glimpse of what punk would soon become, the province of aggressive, inarticulate teenagers with a "loud-fast rules" philosophy that trumps any other consideration. The genuinely teenage Eater (ranging in age from 13 to 17) weren't interested in the Queen or White Riots; they wrote songs about daydreams, hot girls in math class, and bad-taste fantasies of prostitutes and necrophilia. All songs on their sole full-length release sound about the same, played with one stiff light-speed beat and a snotty vehemence to each track, adding up to a ridiculous classic. As fast and clumsy as the material is, there's an undeniable tunefulness at work, particularly in irresistible singalongs like "No Brains" and "Room for One," and the sprightly single "Lock It Up" even attempts some naïve vocal harmonies as they sneer at the upper classes.

British punk began as a movement of self-proclaimed artists, thick with half-baked theories and aging hipsters trying to artificially stimulate a youth movement of their own. Hyperactive first-wavers Eater, however, offered a glimpse of what punk would soon become, the province of aggressive, inarticulate teenagers with a "loud-fast rules" philosophy that trumps any other consideration. The genuinely teenage Eater (ranging in age from 13 to 17) weren't interested in the Queen or White Riots; they wrote songs about daydreams, hot girls in math class, and bad-taste fantasies of prostitutes and necrophilia. All songs on their sole full-length release sound about the same, played with one stiff light-speed beat and a snotty vehemence to each track, adding up to a ridiculous classic. As fast and clumsy as the material is, there's an undeniable tunefulness at work, particularly in irresistible singalongs like "No Brains" and "Room for One," and the sprightly single "Lock It Up" even attempts some naïve vocal harmonies as they sneer at the upper classes.