Recent Articles

Recent Articles By Shae Moseley

National Features

  • Broward-Palm Beach New Times
    Last Step to Redemption

    Drug counselor Richard Entrekin swam a little too easily in a sea of sharks.

    By Amy Guthrie
  • Village Voice
    The Cro-Mag Diaries

    Remembering the brutal life and times of John "Bloodclot" Joseph, New York hardcore icon.

    By Rob Harvilla
  • Seattle Weekly
    Being Gary Busey

    Everybody thinks Jeff Swanson is somebody famous. And he does nothing to dissuade them of the notion.

    By Aimee Curl
  • SF Weekly
    Party Crashers

    If you think Ralph Nader won't screw the Democrats again, you're not paying attention.

    By John Geluardi

The Mary Onettes' music is unabashedly '80s in every way; the Swedish new-wavers borrow from bands such as New Order, the Cure and the Jesus and Mary Chain. But as the cliché goes, every artist is a thief — and the Mary Onettes seem to know how to steal the best parts from the sounds of its influences. For instance, "Lost" starts with a driving drumbeat and a Billy Idol-inspired guitar riff before huge synthesizers propel the song into the first verse, which in turn conjures Tears for Fears' sophisticated melodic themes. Still, the Mary Onettes don't get stuck in one particular stylistic rut: The songs on its self-titled debut move seamlessly from keyboard-heavy dance numbers to psychedelic pop.

Riverfront Times Insiders

  • Local food, music and news blasts
  • Free Stuff