Less Lee Moore is a Fannibal, an animal lover, a music maven, and a horror movie junkie. She is the Editor In Chief for Popshifter, and also contributes to Rue Morgue, Everything Is Scary, and Modern Horrors.
“While ‘Pinned’ often feels like the diary entries of someone suffering from a wound that wouldn’t heal, ‘See Through You’ feels like a ‘Fuck you, I’m still here, and I’m happy,’ plus lots and lots of hooks.”
“Finding solace in music is perhaps one of the few truly safe spaces in which we can find a place to grieve. ‘Celestial Blues’ is an important reminder that there is always room for faith.”
“‘Lapsis’ offers the intriguing and hopeful possibility that our technologically dependent future may not be so bad after all.”
“It may seem strange to qualify Mertens’ audaciously original production as ‘horror’ when it has no gory set pieces, jump scares, monsters or special effects. Yet, despite a lack of these things, ‘Time of Moulting’ is very much a horror film.”
“As the debate rages on about whether strong female characters in movies should evoke admiration through heroism or just be flawed, human and sometimes downright unlikeable, it’s nice to see that Brea Grant created a film that’s full of different women.”
“There was nothing else like ‘CREEM’ back then, and there’s still nothing like it now. That’s not only a testament to the importance of the magazine, it’s also a sad commentary on what’s lacking in modern music criticism.”
“‘Express’ felt like music that was made FOR ME — not my parents, and certainly not the other teenagers I knew who liked music that seemed boring and soulless.”
Leslie Hatton Interviews ‘After Midnight’ Filmmakers Jeremy Gardner, Christian Stella and Justin Benson
Leslie Hatton Interviews Musician JG Thirlwell
“In conjunction with the religious references of the track names, the music on ‘Oscillospira’ evokes the drama of creation and destruction on a grand scale.”
“‘Fungus II’ is another reminder that not only is Segall one of the most hard-working and talented artists of the last decade, but also a genuine musical omnivore.”
“Stray’s expanded timeline, along with Bambara’s skill in conjuring a distinctly Southern kind of horror, feels akin to True Detective’s spectacular first season.”
Redd Kross Interview: Vague Visages Leslie Hatton discusses the album ‘Beyond the Door’ with musician Jeff McDonald.
“Redd Kross remains the greatest American band most people have never heard of, much less heard. Don’t be like ‘most people.’ Join the party underground of Redd Kross fandom. You won’t regret it.”
“If ‘Manipulator’ is Segall’s White Album, and ‘Emotional Mugger’ his ‘Magical Mystery Tour,’ then ‘First Taste’ might be his ‘Abbey Road’: brazenly eclectic yet wonderfully cohesive; deeply personal yet superbly tuneful.”
“It’s a cruel world, but with music like this around, we are never truly alone.”
“Lust for Youth now have seven albums under their collective belts. It’s high time pop fans took notice and started giving them the attention they deserve.”
“‘Reward’ may traffic in ambiguity and absurdity, but the feelings it evokes are genuine. At a time when authenticity is considered the ultimate musical currency, Cate Le Bon’s music is rich indeed.”
“Ioanna Gika has evolved from a promising artist to a fully-fledged talent to be reckoned with. Her uncommon, authentic voice has been sorely missed; it’s good to have her back.”
“There is nothing quite like a Ty Segall show. Witnessing this talented wunderkind and his equally spectacular band in a live setting is nothing short of mind-blowing (and eardrum-rupturing, for that matter).”
