HeyJaredRyan Reed
- Indexed articles, last 90 days
- 7
- Latest publication
- Aug 21, 2026
- Outlet visibility, for Paste Magazine
- Top 500K sites
- Earliest in this view
- Jul 24, 2026
Latest articles
Review: Julia Holter, 'Materia' (opens the original)
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Julia Holter’s latest album ends with a ghostly solo meditation: only a warm-bath Wurlitzer, a reverb-speckled vocal, and some evocative descriptions of love. “Emptiness, the dagger it hides / Placing full importance in you,” she sings, her drowsy voice filling the chasms between chords. At that moment, you might wonder if you’re listening to a defective master—on “Materia 3,” the art-pop artist is pitch-shifted way down, heightening the mystery of an already-enigmatic track. And that choice hig
Hovvdy, 'Big World' Review (opens the original)
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The emotional anchor of Hovvdy’s sixth album, Big World, is a glimmering crystal of a song that feels as natural and elemental as breathing or crying. On “Blast,” Charlie Martin coos hazy lines about regret and self-improvement against an unobtrusive collage: a ringing, compressed acoustic arpeggio; a crunchy nineties electro-pop beat; flickering psychedelic guitar and dobro overdubs; a processed vocal with the twang of a country ballad. “Touch down, small town,” Martin sings. “We could do bette
Man/Woman/Chainsaw, 'Cannonball' Review (opens the original)
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On Man/Woman/Chainsaw’s debut album, the London art-rock sextet live up to the compelling fracture their name evokes. In an early press statement, guitarist-singer Billy Ward described how they’re excited by musical “chaos,” straddling the line “between pretty and noisy” and “often trying to jump between the two.” Cannonball cartwheels from ultra-sweet pop balladry to proggy chamber-pop to aggressive post-punk clatter, seemingly treating each of its styles with equal reverence. At first, these t
The strange, cinematic arc of Wang Chung’s classic “To Live and Die in L.A.” (opens the original)
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John Mulaney’s hysterical, gloriously awkward Netflix talk show Everybody’s in L.A. (later revived and re-branded as Everybody’s Live) kicks off with an all-time opening-credits sequence. In rapid-fire collage, it captures the sprawling absurdity of Los Angeles: a blur of serene sunsets and hectic traffic jams, surfers and helicopters, protestors and sidewalk magicians, all set to the seductive shimmer of Wang Chung’s 1985 tune “To Live and Die in L.A.” The scene’s dramatic contrast—the exciteme
“And Your Bird Can Sing” is a psychedelic wonder, even if John Lennon didn’t think so (opens the original)
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In celebration of its 60th anniversary on August 5, Paste will be publishing essays about The Beatles’ Revolver. Listening back to your own decades-old music can be awkward and torturous—even if you’re dusting off crusty hard-drive demos or obscure Bandcamp releases with fourteen streams. When you’re the world’s most famous songwriter, those feelings must be magnified exponentially. In 1980, John Lennon sat down with David Sheff for the ultimate rock interview: vulnerably sifting through the Bea
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