by Brandon Carter
Coastal Journal staff
Like any band worth remembering, Echo & The Bunnymen cultivated several trademark gestures in the course of their not-so-smooth career, beginning with Ian McCulloch's larger-than-life baritone, Will Sergeant's melodospheric guitar, and a slight but jaunty rhythm section. Most of the "new romantics" had some combination of these things in supply, but few had the reckless confidence or vision that McCulloch had, and ultimately, few made a record as gorgeous and spirited as Ocean Rain.
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by Brandon Carter
Coastal Journal staff
It was right around the summer of 2002 that I embraced my love of British music. Before then, it never occurred to me that the records I gravitated towards were a) mostly from the UK and b) were recorded between 1997 and 2000, roughly. OK Computer, Urban Hymns, The Man Who . . . the post Brit Pop records that exploited the sad sap mentality to gorgeous, astronomical effects. I credit The Music with putting an end to my exclusive indulgence in rainy day records.
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by Brandon Carter
Coastal Journal staff
I had a friend who took a class titled something like “Japanamerican Popular Art.” Don't ask me what “Japanamerican” means, but from what he described, the class seemed to deal with the cultural dialogue between Japan and America as facilitated by war, imperialism, and other horrorshows. One of the “texts” he had to purchase, he confided, was Weezer's Pinkerton, so named after the American sailor in the Puccini Opera Madame Butterfly.
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