Music
SLUG Magazine’s collection of reviews covering the latest and greatest of Utah-based music, covering all varieties of genre, style and type.
Local Review: The Glass Gentlemen – Self-Titled
In some ways, The Glass Gentlemen share a lot in common with the psychodrama of early Cursive recordings. … read more
Local Review: FORMAL – Self-Titled
FORMAL seems to have ’90s indie punk running through their veins, but that doesn’t stop them from being unpredictable. … read more
Local Review: The Dog – Slow and Sweet
Slow and Sweet is a mix of everything from a little grunge to some bubblegum pop and vocals that sound like a gritty Marc Bolan. … read more
Local Review: Cubworld – Life Is Music
Cubworld (aka Jake Kongaika) brings us a part acoustic, part party-groove album with Life is Music. … read more
Local Review: Creature Double Feature – A Ghost Story
Dreamy, ambient folk is performed throughout this piece. … read more
Local Review: The Circulars – Self-Titled EP
The Circulars’ sound, while comparable to several bands from a bygone era of earnest and dark, jangley pop music, could be properly suited to nearly any time—simply based on the fact that the songs are good, the musicians are talented and there’s no air of pretense to deflate the mood. … read more
Local Review: Brother Chunky – And Stuff
Brother Chunky drives the beat, all bluesy and SRV-ish with his guitar.
… read more
Local Review: B & Company – The World Is Your...
B & Company is Brandon “B” Barker, the bassist for local project Babble Rabbit, who recruited an assortment of skilled musicians and noise-makers (Djembe, megaphone, typewriter) to put together this delightfully funky 11-song album. … read more
Local Review: Anthems – Bridges
Immediately opening with the aggressive “Bridge Burner,” which uses the imagery of a burning bridge to announce secession from a certain corrupt nation, Bridges is a five-song anthem against political hypocrisy and our national apathy. … read more
Local Review: Andrew Goldring – Forgotten Harvest EP
A lot of this album has the casual buzz that was prominent in the early ’90s, though Goldring uses it wisely, favoring more refined production and carefully composed layers instead of the loud, experimental noise you might find in earlier alternative acts (looking at you, Sonic Youth). … read more