An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Entertainment Weekly is an American magazine, published by Meredith Corporation, that covers film, music, Broadway theatre and popular culture. Different from celebrity-focused publications like Us Weekly, In Touch Weekly, EW concentrates on entertainment media news and critical reviews. However, unlike Variety and The Hollywood Reporter, which are aimed at industry insiders, EW targets a more general audience; the first issue was published on February 16, 1990. Created by Jeff Jarvis and founded by Michael Klingensmith, who served as publisher until October 1996, the magazine's original television advertising soliciting pre-publication subscribers portrayed it as a consumer guide to popular culture, including movies and book reviews, sometimes with video game and stage reviews, too.. In 1996, the magazine won the coveted National Magazine Award for General Excellence from the American Society of Magazine Editors. EW won the same award again in 2002. In September 2016, in collaboration with People, Entertainment Weekly launched the People/Entertainment Weekly Network.
The network is "a free, ad-supported online-video network carries short- and long-form programming covering celebrities, pop culture and human-interest stories". It was rebranded as PeopleTV in September 2017; the magazine features celebrities on the cover and addresses topics such as television ratings, movie grosses, production costs, concert ticket sales, ad budgets, in-depth articles about scheduling, showrunners, etc. It publishes several "double issues" each year; the magazine numbers its issues sequentially, it counts each double issue as "two" issues so that it can fulfil its marketing claim of 52 issues per year for subscribers. Entertainment Weekly follows a typical magazine format by featuring a letters to the editor and table of contents in the first few pages, while featuring advertisements. While many advertisements are unrelated to the entertainment industry, the majority of ads are related to up-and-coming television, film or music events; these beginning articles open the magazine and as a rule focus on current events in pop culture.
The whole section runs eight to ten pages long, features short news articles, as well as several specific recurring sections: "Sound Bites" opens the magazine. It’s a collage of media personalities. "The Must List" is a two-page spread highlighting ten things. "First Look", subtitled "An early peek at some of Hollywood's coolest projects", is a two-page spread with behind-the-scenes or publicity stills of upcoming movies, television episodes or music events. "The Hit List", written each week by critic Scott Brown, highlights ten major events, with short comedic commentaries by Brown. There will be some continuity to the commentaries; this column was written by Jim Mullen and featured twenty events each week, Dalton Ross wrote an abbreviated version. "The Hollywood Insider" is a one-page section. It gives details, in the separate columns, on the most-current news in television and music. "The Style Report" is a one-page section devoted to celebrity style. Because its focus is on celebrity fashion or lifestyle, it is graphically rich in nature, featuring many photographs or other images.
The page converted to a new format: five pictures of celebrity fashions for the week, graded on the magazine's review "A"-to-"F" scale. A spin-off section, "Style Hunter", which finds reader-requested articles of clothing or accessories that have appeared in pop culture appears frequently. "The Monitor" is a two-page spread devoted to major events in celebrity lives with small paragraphs highlighting events such as weddings, arrests, court appearances, deaths. Deaths of major celebrities are detailed in a one-half- or full-page obituary titled "Legacy"; this feature is nearly identical to sister publication People's "Passages" feature. The "celebrity" column, the final section of "News and Notes", is devoted to a different column each week, written by two of the magazine's more-prominent writers: "The Final Cut" is written by former executive editor and author Mark Harris. Harris' column focuses on analyzing current popular-culture events, is the most serious of the columns. Harris has written among other topics.
"Binge Thinking" was written by screenwriter Diablo Cody. After several profiles of Cody in the months leading up to and following the release of her debut film, she was hired to write a column detailing her unique view of the entertainment business. If You Ask Me..." Libby Gelman-Waxer was brought in to write his former Premiere column for Entertainment Weekly in 2011. There are four to six major articles within the middle pages of the magazine; these articles are most interviews, but there are narrative articles as well as lists. Feature articles tend to focus on movies and television and less on books and the theatre. In the magazine's history, there have only been a few cover stories devoted to authors. There are seven sections of reviews in the back pages of each issue (together enc
John Agnello is an American producer, recording engineer and mixer, involved with many albums throughout the last 25 years. Most John has been involved with Kurt Vile, Sonic Youth, Sweet Apple, Dinosaur Jr. Thurston Moore and Jemina Pearl. John’s life in the studio began in 1979 at the age of 19 while working as an intern at the legendary Record Plant Studios in Manhattan. John became the studio's go-to-assistant, he assisted on a number of albums including those by Aerosmith, Twisted Sister, John Cougar Mellencamp, John Waite. John worked on “Born In the USA” with Bruce Springsteen. However, working on Cyndi Lauper’s She’s So Unusual! had the biggest recording and production impact on him at the time. He worked with some of the great engineers and producers of that time, Jack Douglas, Jimmy Iovine, Rick Chertoff, William Wittman, Mike Chapman, Dave Thoener, Jay Messina, Roy Cicala, Shelly Yakus, he got his first true break engineering on the second album by The Hooters. He was involved with artists such as Sophie B. Hawkins and The Outfield.
The Outfield's first record, Play Deep, had a #2 hit with "Your Love". Around that time, he got to do one off session with Bob Dylan and Mick Jagger, two of his favorite artists; the Bob Dylan song was "Series Of Dreams". That version was used by NARAS, and the Mick Jagger song, "Hard Woman", was for a special made-for-MTV only video. During the early nineties John started his association with the Screaming Trees; this collaboration has extended through a dozen records. In fact, John mixed the heralded Dinosaur Jr. reunion record, with the original lineup. He was responsible for productions with artists such as Buffalo Tom, Chainsaw Kittens, Chavez, Redd Kross and Patti Smith, among others, he worked with Alice Cooper on The Last Temptation Of Alice Cooper. In this decade, John has worked with such artists as Sonic Youth, The Living End, Andrew W. K. Drive-By Truckers and Social Distortion, he has helmed Stay Positive by The Hold Steady. Though he excels at the hard edge sound of many of the aforementioned artists, he’s adept at working with the subtler sounds of artists such as Son Volt, The Kills, Thurston Moore, The Walkmen, Five for Fighting.
John Agnello has been involved with many newer artists. Scottish band The Hazey Janes are one example. John mixed one of their records in Spain in 2006 and they came to the US to record their follow-up album, Hands Around The City. John worked with Jennifer O'Connor on her latest, Here With Me, for Matador Records. John encouraged her to sing all her vocals live. Not to be limited to the United States, John has had commercial success overseas; the three records he did with Norwegian band, have scored both critical and commercial success. In the press release for the current record, they describe John as, “the external creative force that has had the most influence on Madrugada’s artistic development.” John has had success with another Norwegian band, Turbonegro, on their last record, Retox. In October 2012, Agnello produced the sixth album from indie punk band The Thermals. In 2015, Agnello produced the album Manhattan for the Anti-folk singer Jeffrey Lewis. Nothing - "Dance On The Blacktop", 2018 Kevin Devine - "Instigator", 2016 Kurt Vile - Wakin on a Pretty Daze, 2013 The Black Clouds - Better Days, 2013 Okkervil River - "The Silver Gymnasium", 2013 Kurt Vile - Smoke Ring for My Halo, 2011 Sonic Youth - The Eternal, 2009 Dinosaur Jr.
"Farm", 2009 The Hold Steady, Stay Positive, 2008 The Living End, White Noise, 2008 Jennifer O’Connor, Here With Me, 2008 Madrugada, Madrugada, 2008 The Hazey Janes, Hands Around the City, 2008 Thurston Moore, Trees Outside The Academy, 2007 Turbonegro, Retox, 2007 Dinosaur Jr. Beyond, 2007 My Midnight Creeps, Histamin, 2007 The Ponys, Turn the Lights Out, 2007 Son Volt, The Search, 2007 Oxford Collapse, Remember The Night Parties, 2006 The Hold Steady and Girls in America, 2006 Andrew WK, Close Calls with Brick Walls, 2006 Sonic Youth, Rather Ripped, 2006 Official website Steel Toe Artist Management Interview with John Agnello in Sound Bites Dog E-Zine John Agnello interview with freqControl.com
Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Used to describe independent record labels, the term became associated with the music they produced and was used interchangeably with alternative rock; as grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, some indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term. Sometimes used interchangeably with "guitar pop rock", in the mid-1980s, the term "indie" began to be used to describe the music produced on punk and post-punk labels; some prominent indie rock record labels were founded during the 1980s. During the 1990s, grunge bands broke into the mainstream, the term "alternative" lost its original counter-cultural meaning.
The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status. By the end of the 1990s, indie rock developed several subgenres and related styles, including lo-fi, noise pop, slowcore, post-rock, math rock. In the 2000s, changes in the music industry and in music technology enabled a new wave of indie rock bands to achieve mainstream success. In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream; the commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hives and The Vines. Emo broke into mainstream culture in the early 2000s. By the end of the decade, the proliferation of indie bands was being referred to as "indie landfill"; the term indie rock, which comes from "independent," describes the small and low-budget labels on which it is released and the do-it-yourself attitude of the bands and artists involved. Although distribution deals are struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds and subjects of limited appeal to large, mainstream audiences.
The influences and styles of the artists have been diverse, including punk, post-punk and country. The terms "alternative rock" and "indie rock" were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s, "indie rock" began to be used to describe those bands, working in a variety of styles, that did not pursue or achieve commercial success. Aesthetically speaking, indie rock is characterized as having a careful balance of pop accessibility with noise, experimentation with pop music formulae, sensitive lyrics masked by ironic posturing, a concern with "authenticity," and the depiction of a simple guy or girl. Allmusic identifies indie rock as including a number of "varying musical approaches compatible with mainstream tastes". Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.
In fact, there is an everlasting list of subgenres of indie rock. Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but unknown elsewhere. However, there are still indie bands that start off locally, but attract an international audience. Indie rock is noted for having a high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed Riot Grrrl music of acts like Bikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear. However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels; the BBC documentary Music for Misfits: The Story of Indie pinpoints the birth of indie as the 1977 self-publication of the Spiral Scratch EP by Manchester band Buzzcocks. Although Buzzcocks are classified as a punk band, it has been argued by the BBC and others that the publication of Spiral Scratch independently of a major label led to the coining of the name "indie".
"Indie pop" and "indie" were synonymous. In the mid-1980s, "indie" began to be used to describe the music produced on post-punk labels rather than the labels themselves; the indie rock scene in the US was prefigured by the college rock that dominated college radio playlists, which included key bands like R. E. M. from the US and The Smiths from the UK. These two bands rejected the dominant synthpop of the early 1980s, helped inspire guitar-based jangle pop. In the United States, the term was associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Meat Puppets, Dinosaur Jr. and The Replacements. In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986, it gave its name to the indie pop scene that followed, a major influence on the development of the British indie scene as a whole. Major precursors of indie pop included Postcard bands Josef K and Orange Juice, significant labels included Creation and Glass.
The Jesus and Mary Chain's sound combined the Velvet
Chavez are an American math rock band from New York City, formed in 1993. After a period of inactivity, the band re-formed in 2006, they released two independent non-charting albums in the mid-1990s. Guitarist Matt Sweeney has confirmed that the band is working on its first new recordings since 1996. Chavez was formed from the ashes of Wider, was inspired by the sonic approach of math rock pioneers Slint and the post-punk outfit Mission of Burma. Chavez utilizes asymmetrical riffs and dramatic dynamic shifts; the band is fronted by guitarist Matt Sweeney, a member of Skunk and Wider, played with Guided by Voices. Drummer James Lo came from Wider; the band gained a following in the New York underground scene following the release of their first single "Repeat the Ending". Their debut album was followed by the EP Pentagram Ring; the music video for the song "Break Up Your Band" aired in an episode of MTV's Beavis and Butt-head, the band toured with Guided by Voices and Bardo Pond. Chavez's second full-length album Ride the Fader was released in 1996, was praised by Entertainment Weekly as "a fine specimen of spare, brainy post-metal hard rock".
Chavez never broke up, but they released no new material and played few shows between 1999 and 2006. In 2006, Matador Records released Better Days Will Haunt You, a compilation of all of Chavez's studio material up to that point, with the addition of new vocals for the song "White Jeans"; the band played a few shows in support of the compilation, played with other bands such as Pavement and Sonic Youth. In 2001, during Chavez's period of inactivity, guitarist Matt Sweeney went on to join Smashing Pumpkins frontman/guitarist Billy Corgan and Slint guitarist David Pajo to form Zwan. Sweeney teamed up with Will Oldham for the 2005 album Superwolf, as well producing and playing on Early Man's debut record for Matador, Closing In. Sweeney is involved in the NYC anti-band Soldiers of Fortune who have put out two records with Mexican Summer. Clay Tarver has kept himself busy directing various television commercials as well as writing the script for the movie Joy Ride. Matt Sweeney played guitar on Johnny Cash's American VI released posthumously in 2010.
The band was chosen to perform at the ATP I'll Be Your Mirror festival organized by ATP & Portishead in September 2011 in Asbury Park, New Jersey. Gone Glimmering Ride the Fader Better Days Will Haunt You Pentagram Ring Their cover of the song "Little Twelvetoes" was included at track 10 on Schoolhouse Rock! Rocks Cockfighters Matador Records page on Chavez 2006 Interview with Pitchforkmedia AllMusic: Chavez discography and album reviews
Math rock is a style of indie rock that emerged in the late 1980s in the United States, influenced by post-hardcore, progressive rock bands such as King Crimson, 20th century minimal music composers such as Steve Reich. Math rock is characterized by complex, atypical rhythmic structures, odd time signatures, angular melodies, extended dissonant, chords, it bears similarities to post-rock. Whereas most rock music uses a 4/4 meter, math rock uses non-standard time signatures such as 7/8, 11/8, or 13/8, or features changing meters based on various groupings of 2 and 3; this rhythmic complexity, seen as mathematical in character by many listeners and critics, is what gives the genre its name. The sound is dominated by guitars and drums as in traditional rock, because of the complex rhythms, the drums section of math rock groups tend to be more salient than in other genres, it is commonplace to find guitarists in math rock groups using the tapping technique of guitar playing, loop pedals are incorporated, as by the band Battles.
Guitars are often played in clean tones more than in other upbeat rock songs, but some groups use distortion. Lyrics are not the focus of math rock. Vocals are not overdubbed, are positioned low in the mix, as in the recording style of Steve Albini, or Rolling Stones producer Jimmy Miller. Many of math rock's most famous groups are instrumental such as Don Caballero or Hella, though both have experimented with singing to varying degrees; the term math rock has been passed off as a joke that has developed into what some believe is a musical style. An advocate of this is Matt Sweeney, singer with Chavez, who themselves were linked to the math rock scene. A significant intersection exists between math rock and emo, exemplified by bands such as Tiny Moving Parts or American Football, whose sound has been described as "twinkly, mathy rock, a sound that became one of the defining traits of the emo scene throughout the 2000s." The Canadian punk rock group Nomeansno have been cited by music critics as a "secret influence" on math rock, predating much of the genre's development by more than a decade.
An more avant-garde group of the same era, featured the guitarist Fred Frith and the bassist Bill Laswell. With some influence from the rapid-fire energy of punk, Massacre's influential music used complex rhythmic characteristics. Black Flag's 1984 album, My War included unusual polyrhythms. Bands such as Because of Ghosts, The Sinking Citizenship, My Disco emerged in the early 2000s in Melbourne; the European math rock scene started in the late 90s to early 2000, including bands such as Adebisi Shank, The Redneck Manifesto, Three Trapped Tigers and This Town Needs Guns and Uzeda. Foals was formed in 2005; the most significant Japanese groups include Ruins, Zeni Geva, Aburadako and Doom. Yona-Kit is a collaboration between Japanese and U. S. musicians. Other Japanese groups which incorporate math rock in their music include Ling Tosite Sigure, Zazen Boys and Mouse on the Keys. Skin Graft Records and Tzadik Records have released Japanese math rock albums in the United States; the city of Pittsburgh is home to Don Caballero, whose drummer, Damon Che, is involved with the international math rock band Bellini as well as Tabula Rasa, Knot Feeder.
Bands from Washington, D. C. include The Dismemberment Plan, Shudder to Think, Faraquet, 1.6 Band, Autoclave Jawbox, Circus Lupus. Polvo of Chapel Hill, North Carolina is considered math rock, although the band has disavowed that categorization. In California, math rock groups from San Diego include Upsilon Acrux, Drive Like Jehu, Antioch Arrow, Tristeza, No Knife, Heavy Vegetable, Sleeping People, Tera Melos, Chon. Northern California was the base of Game Theory and The Loud Family, both led by Scott Miller, said to "tinker with pop the way a born mathematician tinkers with numbers"; the origin of Game Theory's name is mathematical, suggesting a "nearly mathy" sound cited as "IQ rock." By the turn of the 21st century, most of the generation bands such as Sweep the Leg Johnny had disbanded and the genre had been roundly disavowed by most bands labeled with the "math rock" moniker. Bands in the late 90's and 2000s, such as This Town Needs Guns and American Football, began combining math rock and emo, creating a much more vocally oriented sound.
In the mid-2000s, many math rock bands enjoyed renewed popularity. Slint and Chavez embarked on reunion tours, while Shellac toured and released their first album in seven years. Don Caballero reunited with a new lineup and released an album in 2006, while several of its original members joined new projects, such as the band Knot Feeder. Dale, P.. Anyone Can Do It: Empowerment and the Punk Underground. Ashgate Popular and Folk Music Series. Taylor & Francis. P. pt237–. ISBN 978-1-317-18024-1. Eberhart, Max. "Calculating the Influence of Math Rock". The Santa Clara. Retrieved October 3, 2016. Math Rock at AllMusic