Most Popular
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7-Up vs. Coke Part 2
Heir to a fortune, Andrew Gladney went from John Burroughs to Yale and came home to found the dot-com darling Savvis Inc. Then he squandered it all. The spectacular flameout of a St. Louis soft-drink scion.
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Red Alert: Everything they really don't want you to know about those pesky traffic-light cameras
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Ludo is fired up and ready to play on the national stage
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Curious Gorge: Ian tests the animal magnetism of Three Monkeys
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Feel a Draught?: Tigín opens an outpost in a Hampton Inn downtown? O'Really!
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Seeing Red: Partners battle over a Wash. Ave. eatery's ownership (9)
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Red Alert: Everything they really don't want you to know about those pesky traffic-light cameras (9)
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7-Up vs. Coke Part 2 (6)
Heir to a fortune, Andrew Gladney went from John Burroughs to Yale and came home to found the dot-com darling Savvis Inc. Then he squandered it all. The spectacular flameout of a St. Louis soft-drink scion.
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Will Ian flip for the Original Pancake House? (4)
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Is a Wash. U. dean destroying alumni records and making unjust department cuts? (3)
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Have two Nirvana producers helped create the next Metallica?
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"The Sex Song": Not TASTiSKANK's homage to Matthew McConaughey
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Bret Michaels (sort of) talks dirty to RFT
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The 75s make an extra-fancy splash with its debut record
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Producer nonpareil Pharrell Williams is happy to be just one of the band again
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Go! 3/7-3/9
06:00PM 03/07/08 -
R.E.M. Accelerate: An Advance Review and Song-by-Song Analysis of the Band's New Album
04:06AM 03/08/08 -
Your Weekly St. Louis Food Blog Digest
03:45PM 03/07/08 -
This Is Hawkwind -- Do Not Panic
06:08PM 11/09/07
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Recent Articles By Christian Schaeffer
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Kentucky Knife Fight
Live at Stagger Inn, December 14, 2006
(self-released) -
Homespun
Caleb Travers & Big City Lights
Blue Weathered Dreams
(self-released) -
End of the Century
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Kevin Bowers
Nine Story Building
(self-released) -
Finest Worksong
Jon Hardy and the Public finds beauty in love's vagaries.
National Features
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Houston Press
"It Was Like an Armageddon Movie"
For days after Hurricane Rita, a Texas prison was hell on earth.
By Chris Vogel -
SF Weekly
The Candidate
Our columnist knows Ralph Nader's running mate all too well.
By Matt Smith -
The Pitch
How Not To Be a Rap Star
First of all, lay off the Ecstasy.
By Nadia Pflaum -
Village Voice
Project Runaway
What becomes a gossip columnist most?
By Michael Musto
Things are shifting, however minutely, for the New Pornographers. In recent years, the band has swapped its trademark straight-shooting infectiousness for permanence; in fact, 2005's Twin Cinema proved that Carl Newman's pop brigade could resonate with listeners without always pummeling them with big hooks and ramped-up choruses. Challengers builds on this good faith, and while it doesn't match the cohesiveness and slow-revealing beauty of its predecessor, the album finds a balance between brainy power pop and heartfelt balladry.
Lyrically, the album occupies the space between a breakup album and a mash note to a new girlfriend; the resolution of love gone wrong leaves us a bit wiser, if more guarded. The title track, sung by Neko Case, walks this divide with the knowledge of one who knows the heart's contours. For all the adult concerns and tasteful arrangements, Newman is still a master craftsman of pop songwriting lead single "My Rights Versus Yours" starts off simple and spare, only to reveal a perpetual motion machine of backing-vocal harmonies, new-wave guitar and crescendoing drum patterns.
While Newman and Case have long been the project's marquee names, Challengers contains some fine work from the supporting cast. "Adventures in Solitude" gives pianist Kathryn Calder a chance to shine in the song's bridge, her clarion voice rising above the swell of a violin and the wordless bom-bom-boms of the background choir. Dan Bejar fills his prescribed role in the New Pornos, contributing three ace tracks that rank among his finest, either within this band or as Destroyer. His NYC name-dropping "Myriad Harbour" comes off as a hipster's "New York State of Mind," and "The Spirit of Giving" ends the record on a note of baroque regality with harp arpeggios (played by St. Louisan Eileen Gannon) and muted horns. It's a little touch of the grandiose by a band that has always been capable of more than hot guitar licks and three-part harmonies.







