milk crate

  • Annie Saw The Future

    Anniemal, as a whole, was welcomed with open arms by the indie scene and music critics alike. Through sheer word of mouth, dance-pop had suddenly earned a seat at the table in indie music. With tracks that commented on class, like the title track, or freaky, slinky breakup songs like “Always Too Late,” Annie reshaped a genre that was at times campy or cheesy into something undeniably cool. They weren’t songs about huge emotions, or parties for the end of the world, but rather songs about life. Friendships and nights out and one night stands, and I guess manic Spice Girls. It could be argued that, without Anniemal, dance-pop may never have gotten the respect it deserves.

  • Staff Pix 3/6: Daylist

    Smooth-brained mood waiting at airport terminal for very early or very late flights For that ultimate liminal space where fluorescent light sterilizes the eyes and the utter monotony of each minute passes, seemingly slower than the last, sending the mind turning in its concentric purgatory like a hamster on its wheel. — Christian Jones Cold…

  • Life Still Feels like Exile in Guyville

    Exile in Guyville could be a sob story about shitty ex-boyfriends and childhood trauma and bad sex, but Phair doesn’t sing it like she wants your sympathy, or even like she’s particularly upset over the situation. It sounds like she’s resigned herself to it. It’s the tone of voice of a breakup that you’ve known is coming for months, the end of a relationship that you’ve already mourned the loss of by the time the conversation happens, the numbness that comes with deciding not to expect too much. Her vocals are devoid of any flourish or technical stylings, but are instead a monotone that sounds like she’s complaining to you over the phone.

  • Staff Pix 2/27: Magical

    “Spellbound” by Siouxsie and the Banshees “Spellbound” (1981) is the perfect example of Siouxsie and the Banshees’ magnetizing goth sound. Released as the first single from the band’s fourth studio album, Juju, “Spellbound” brews up Siouxsie Sioux’s hypnotic vocals, bewitching guitar riffs, and a heavy bassline to send you floating in mid-air. From her geometrical…

  • Name Game Playlist

    Design by Gabrielle Finucan By Heather Thorn Introducing… The Name Game playlist with over 50 songs, all with names in the titles. Meet Alison, Anna, Angelina, Angie, April, Baba, Billy, Brett, Bonnie, Buddy, Caroline, Chelsea, Clint, Delilah, Eleanor, Elise, Francis, Frederick, Harry, Heather, Henrietta, Iris, Jessie, Jezebel, Johanna, Jolene, Josslyn, Jude, Judy, Julia, Layla, Lizzy,…

  • Parallel Playlist

    Design by Sophie Parrish By Mario Sierra and Julia Schramm Arcade Fire – The Suburbs / The Dismemberment Plan – The City Phoenix – Girlfriend / Best Coast – Boyfriend Duster – Inside Out / Teethe – Upside Down The Drums – Days / Frank Ocean – Nights The Promise Ring – Nothing Feels Good…

  • The Numero Group Soulection Picks

    The Numero Group, founded in 2003 by Tom Lunt, Rob Sevier, and Ken Shipley, has been a musical archive and curator of exceptional quality since its inception. The record label’s original intention was to release the obscure picks that its founders were deeply invested in—unknown gems from local R&B, soul, and gospel labels that had risen and fallen to history—and though the breadth of their musical cache has grown to encompass indie and emo bands like Ira and Everyone Asked About You, they have still managed to preserve some of the finest and most criminally underrated soul picks in the game.

  • Still All Fucked Up: 20 Years of Eiafuawn’s Birds in the Ground

    Unlike the steady and booming resurgence of Duster within the past years, Eiafuawn has seen little resurrection outside of smaller spaces. On February 25, 2022, archival record label The Numero Group released deluxe pressings of Birds in the Ground, as well as full Spotify and Bandcamp uploads. But the area that Eiafuawn finds itself in doesn’t need to be large, and the album doesn’t need a cultural revival. It only needs to play in quiet bedrooms and turned-up headphones, existing in the personal and authentic world it cultivates for each listener. 20 years later, Eiafuawn stands as a meaningful record of early 2000s slacker artistry—gloomy and detached yet oh so emotional. Maybe in our own interior worlds, everything is still all fucked up, but in Parton’s world of Birds in the Ground, everything is right.