Slide 1
Review: Retribution Body, "Baphomet"

By Steve Dewhurst

For Baphomet‘s creation, Matthew Azevedo decamped to Methuen Memorial Music Hall, replete with its 160 year old Great Organ and famed four-second reverberation.

Pete Swanson
A Folk Music of Sorts: An Interview with Zefan Sramek of Precipitation

By Jason Cabaniss

"For much of my work, both musical and otherwise, the notion of place is very important. That’s one of the reasons I like using field recordings."

Slide 3
Inbox #10: Real Life Ambient Top 10

By Emmerich Anklam

Greil Marcus, whose books like Mystery Train and Lipstick Traces and The History of Rock ‘n’ Roll in Ten Songs deepen the mysteries of rock music instead of explaining them away, has kept up his Real Life Rock Top 10 column with few interruptions for more than thirty-five years. This edition of The Inbox is structured after his column and dedicated to him.

Slide 2
Guest Playlist #08: H. Anthony Hildebrand

By Steve Dewhurst

“The first album I was given was Rolf Harris’ Greatest Hits... that’s how not cool the music happening at our house was."

previous arrow
next arrow

About

Underscore was launched because my other gigs either deflated, desiccated, disappeared or died.

Having started at the late, lamented Foxy Digitalis (Brad, Crawf, Bobby, where are you?) and travelled via Fluid Radio, Epitonic, Decoder Magazine and others, as well as having run the short-lived, enormously unsuccessful cassette label J&C Tapes, I took a break for grown-up stuff like having children and brain tumours and mental health issues and drink problems.

The constant, of course, was music. But all that music and no one to gibber on about it to?  All that music and nothing to sick wild thoughts and ideas up on to?  That only ever results in one thing: a seriously backed-up bastard.

So with nothing in the running, and an inbox as full of neglected promos as my head was of words requiring a release, the decision was made to go it alone. Underscore was born, and painfully.

My aim here is modest. I want to write about, and speak to if they’re willing, as many of the artists whose music I continue to receive daily despite my having done nothing with it for months.  They send it in good faith and I want Underscore to honour that.

I also want it to be fun and informative. I want to cover as much as a guy with a family to look after and a day job reasonably can – I am no professional, and never have claimed to be, but I hope Underscore has something to say that people will enjoy reading and find informative.  I also want to support the oddballs, the little guys, the obscurities and the practically unlistenable; I want to cover the weirdest shit you can throw at me, and the heaviest, and the noisiest, and the most far-flung.

As of March 2020, Underscore is:

Steve Dewhurst (@UNDR_MUSICMAG)
Diego Aguilar-Canabal (@daguilarcanabal)
Emmerich Anklam (@eianklam)
Lindsay Oxford (@lindsayoxford)
Jason Cabaniss (too smart for social media) 

I cannot promise we will write about everything we receive, although we will endeavour to listen to it all.  Please enquire about submissions by clicking on the handy mail icon up there in the top right corner of the screen, or just go ahead and submit to underscoremusicmagazine@gmail.com.  Physical is beautiful, but we are more than grateful for good ol’ digital.

Before I shut up here, I want to thank and praise my good friend Dylan McConnell at Tiny Little Hammers without whom this endeavour would not have been possible.  Dylan made the Underscore logo for me, helped with some coding problems and generally nagged at me daily when I was dragging my feet.  In my mind, Dylan is one of the very best designers working, and someone I can always trust when I need help or someone to make fun of because of where he lives. I love the guy.

If you’re a social media type, you can find Underscore getting its data illegally farmed and used to swing elections at the following places:

Instagram
Twitter