Category Archives: The Onion A.V. Club

Whether you enjoy Extreme Witchcraft, the new album from longtime rockers Eels, will likely depend on your preferred version of Eels figurehead Mark Oliver “E” Everett: the somber balladeer? The sardonic pop genius? The blues-rock enthusiast? If it’s the last of those, you’re in luck—this album is E shaking off the dust with some swampy […]

A kidnapped baby. A Bog Of Eternal Stench. A Goblin King whose stretchy pants leave very little to the imagination. In 1986, director Jim Henson, producer George Lucas, and screenwriter Terry Jones combined these and other elements to make Labyrinth, a movie that depicts the horrors of being a teenager as a bedtime story gone […]

A few stray guitar notes, some studio chatter, a drummer trying out some fills—these inauspicious sounds begin American Football’s classic self-titled debut from 1999, a landmark album that spawned countless emo bands that paled in comparison. Those offhand noises gave way to “Never Meant,” an unassuming anthem of love gone quietly wrong. The first notes […]

Kevin Barnes’ success as Of Montreal’s figurehead and frontman has depended on his ability to balance extremes; funk and balladry, chaos and order, abstraction and focus. Like his stylistic predecessor David Bowie, Barnes usually threads this needle with ease and efficiency, but when that tension breaks to the abstract side, the results leave little for […]

Records typically live or die by consistency, which is to say they could go either way. In music-critic-speak, a consistent album could either have a “unified sound” or be too similar overall. On the other hand, an erratic grab bag of styles and influences can confuse, disorient, and annoy. Badly Drawn Boy’s debut The Hour […]

Elvis Costello’s new memoir, Unfaithful Music & Disappearing Ink, is a whirlwind tour of Costello’s life as a rock musician, son, father, television host, and songwriting collaborator with Paul McCartney and Burt Bacharach. Like his music, Costello’s book is equal parts acerbic and heartfelt, giving scope to the many stylistic detours he and his fellow […]

Calling Sarah Vowell a historian doesn’t seem right. She certainly deserves the title, considering her ability to write beautifully about history and, as the lengthly bibliography at the end of Lafayette In The Somewhat United States proves, research the hell out of her subject. Maybe it’s just hard to picture David McCullough or Doris Kearns […]

The press materials for Poison Season, the 11th record Dan Bejar has recorded under the name Destroyer, cite David Bowie’s chamber-pop classic Hunky Dory as an influence this time around. The touchstones—ornate strings, piano flourishes—are certainly there, but Poison Season is a looser, less-constrained affair. With its saxophones, bongos, and violins, it’s more of a […]

Given the band’s affinity for energy and explosions, Titus Andronicus is often compared to Hüsker Dü and The Clash, but a better corollary might be The Who. Both bands specialize in sudden tonal shifts from bombast to sensitive soul-searching, and like The Who, Titus Andronicus caters in collections of songs that work together for a […]

Twin brothers Randy and Jason Sklar—together known as the Sklar Brothers—began their stand-up comedy career as part of the New York alternative comedy scene in the mid-’90s. Since then, they have hosted the ESPN comedy show Cheap Seats, released four stand-up albums (the most recent of which, 2014’s Sklar Brothers: What Are We Talking About, […]

It’s been 33 years since Johns Linnell and Flansburgh formed They Might Be Giants, and 21 since they converted their two-man accordion-guitar-MIDI operation into a multi-instrument group, meaning they’ve fronted a full-fledged rock band for the majority of their careers. [ Click here for more ]

Silver Screen Fiend, stand-up comedian and writer Patton Oswalt’s memoir about moviegoing in the ’90s, begins and ends at a revival screening of Sunset Boulevard. It’s a fitting choice: The 1950 noir is essentially about what movies do to us, and what role a film’s viewers—“those wonderful people out there in the dark,” as the […]

Being a Billy Joel fan is a complicated endeavor. “Fan,” after all, is short for “fanatic,” a word that implies a kind of loyalty that artists like Joel make challenging. At the risk of giving a backhanded compliment, sounding like an apologist, or, perhaps, making a massive understatement, Billy Joel has some shortcomings. [ Click […]

Jessie Ware proudly wears her influences—Sade, Whitney Houston, Prince, and any number of ’80s and ’90s R&B belters—on her sleeve. But her many strengths as a songwriter and singer outweigh any possible charges of imitation, and her willingness to apply subtlety, make unexpected choices, and take risks are what make Ware such a unique presence. […]

For Tom Petty, 1994 was a year of transitions. His contract at MCA had just come to a close with the massively successful Greatest Hits (and its blockbuster single, “Mary Jane’s Last Dance”) and drummer Stan Lynch acrimoniously left The Heartbreakers. Moreover, Petty’s marriage was steadily crumbling and, after two hit records with Jeff Lynne, […]

Jeff Tweedy is a remarkably versatile songwriter, even when only considering the output of his main gig, Wilco. For every delicate ballad like “Far, Far Away,” there’s a noise-rock storm like “Kicking Television”; for every Tin Pan Alley pastiche like “Hummingbird,” there’s a hazy fever dream like “I Am Trying To Break Your Heart.” Jeff […]

Goodbye Yellow Brick Road’s title track is a gorgeous lament about fame, a celebrity’s dream of normalcy. The song addresses Elton John’s popularity in lyricist Bernie Taupin’s opening words: “When are you gonna come down? When are you going to land?” The rocket man was anxious about his trajectory. [ Click here for more ]

The band and its fans are undoubtedly sick of the comparison, but there’s no denying it: The War On Drugs sounds like Bruce Springsteen and Dire Straits. Instead of imitating those and other FM mainstays, however, The War On Drugs aims for listeners’ feelings about them, and for our collective radio unconscious. On Lost In […]

On Real Estate’s previous albums—an endearingly woolly self-titled debut; the excellent, vibrant follow-up Days—the balance between offhand and methodical was delicately maintained. Atlas, the New Jersey band’s newest effort, too often tips to the “offhand” side of the scale. Despite some strong material, the album is ultimately too light to stay grounded, too loose to […]

Those who have followed John Hodgman’s career—from his beginnings as a self-appointed expert of world knowledge and Daily Show regular through his side gig as a Mac pitchman and podcast judge—will not be surprised that his first comedy special, produced by Netflix, is unconventional. [ Click here for more ]

The primary question of Partygoing, the new album from the Stephin Merritt side project Future Bible Heroes, is nestled in the wonderfully titled “Satan, Your Way Is A Hard One”: “Who would believe that I was naive? / Who would believe I was once young?” [ Click here for more ]

The new record by M. Ward and Zooey Deschanel, a.k.a. She & Him, isn’t likely to change anybody’s opinions about the duo. Deschanel’s voice is still rough and imprecise, and the songs, buffed to a folk-pop sheen, are anything but. However, skeptics may want to give it a listen: Volume 3 is a step forward […]