Imploding the Mirage marginally reinvents the Killers' sound, but the lyrics problematically redesign archaic ideology, resulting in a regressive album.
On I Must Be Living Twice, Black Marble pleases fans with studio versions of recent live covers of songs by Robert Palmer, Wire, the Field Mice, and Grouper.
New Jersey indie rocker Andrew Cedermark was never interested in a career in music. His forthcoming third record Fort/Da shows that "professionalism" is overrated.
The Lemon Twigs' influences and tastes run deep, and Songs for the General Public shows that they can wrap all these ideas into a beautiful, oddly consistent package.
Faced with the limitations of historical documentation of inventor Nikolai Tesla, director Michael Almereyda and actor Ethan Hawke choose instead to convey his spirit.
The pugnacious characters in Cassavetes' Husbands couch their inauthenticity in bullying. For them, anger is more authentic than placidity, rage more authentic than sadness, cruelty more authentic than kindness.
Miyazaki's powerful worldview speaks to our times in striking ways: the hidden terror of the natural world; the need for truth and compassion; the humanism in the face of adversity.
The insights Joe Sacco shares in his comics journalism offer important lessons in understanding and compassion to readers around the world. No less so with his latest work, the excellent Paying the Land.
Laying the everyday experience of Black life in 1950s America against Cthulhuian nightmares, Misha Green and Jordan Peele's Lovecraft Country suggests intriguing parallels that are often lost in its narrative dead-ends.
Can food alone undo centuries of anti-immigrant policies that are ingrained in the fabric of the American nation? Padma Lakshmi's Taste the Nation certainly tries.
Society is reckoning with Clinton-era "tough-on-crime" policies, law enforcement is no longer seen as the unambiguous good guys, yet true crime television thrives in Netflix's Unsolved Mysteries.
Katy Perry's Teenage Dream is a pensive coming-of-age statement disguised as sophomoric pop fun. It proves how it takes a great deal of conviction to pursue instincts that are of less "substance".
Travel back five years ago when the release calendar was rife with stellar albums. 2015 offered such an embarrassment of musical riches, that we selected 80 albums as best of the year.
Faced with the limitations of historical documentation of inventor Nikolai Tesla, director Michael Almereyda and actor Ethan Hawke choose instead to convey his spirit.
Imploding the Mirage marginally reinvents the Killers' sound, but the lyrics problematically redesign archaic ideology, resulting in a regressive album.
On I Must Be Living Twice, Black Marble pleases fans with studio versions of recent live covers of songs by Robert Palmer, Wire, the Field Mice, and Grouper.
New Jersey indie rocker Andrew Cedermark was never interested in a career in music. His forthcoming third record Fort/Da shows that "professionalism" is overrated.
The pugnacious characters in Cassavetes' Husbands couch their inauthenticity in bullying. For them, anger is more authentic than placidity, rage more authentic than sadness, cruelty more authentic than kindness.
Miyazaki's powerful worldview speaks to our times in striking ways: the hidden terror of the natural world; the need for truth and compassion; the humanism in the face of adversity.
The Lemon Twigs' influences and tastes run deep, and Songs for the General Public shows that they can wrap all these ideas into a beautiful, oddly consistent package.
Rev. Sekou, Adia Victoria, and others gather to discuss inclusivity and the future of Black Americans in Americana music. "The task of the artist at a time of monsters is to remind the people that monsters will not have the last word."
