Amiina
Kurr (Ever). Review by Aaron Shaul.
Faced with the rich sonic twister of music ever churning around us, our writers strap on headphones and hunker down with these tunes and their words to lead everyone to the bottom of what sounds good right now.
Kurr (Ever). Review by Aaron Shaul.
Former Trans Future Vol. 1 (The Wannabe Has Beens). Review by Carl F Gauze.
Calling the World (Geffen). Review by Sean Slone.
Immolation/Immersion (Strange Attractors). Review by Bob Ham.
Victorious (Nettwerk). Review by Aaron Shaul.
Freedom Suite (Collector’s Choice Music). Review by Carl F Gauze.
The Matinee Hit Parade (Matinee). Review by Aaron Shaul.
Hope and Glory (Zoe / Rounder Records). Review by Carl F Gauze.
Bright Outside (Self-released). Review by Chris Catania.
Gold Thriller (Joyful Noise). Review by Nora Richardson.
Bliminal (Interchill). Review by Carl F Gauze.
True Stories I Made Up (Zip). Review by Aaron Shaul.
The Other Side of Los Angeles (Deaf, Dumb & Blind). Review by Chris Catania.
Fumbling With the Covers (Oglio Records). Review by Carl F Gauze.
Guitar Language (Dallas Records). Review by Aaron Shaul.
Phoenician Terrane (Contraphonic). Review by Aaron Shaul.
Masters of War (Big Rack Records). Review by Carl F Gauze.
How to Make a Bad Situation Worse? (In Music We Trust). Review by Tim Wardyn.
Taste of Christmas (Warcon Enterprises). Review by Carl F Gauze.
Lonely Just Like Me: The Final Chapter (Hacktone Records). Review by Al Pergande.
Joe Jackson brought his Two Rounds of Racket tour to the Lincoln Theatre in Washington D.C. on Monday. Bob Pomeroy was in the area and caught the show.
A Beach of Nightly Glory (Metropolitan Groove Merchants). Review by Rose Petralia.
With only a week to go before powerful new feature Louis Riel or Heaven Touches The Earth premieres in the Main Slate at UNAM International Film Festival, Lily and Generoso sat down for an in-depth conversation with the film’s director, Matías Meyer.
Carl F. Gauze reviews the fascinating Mostly True: The West’s Most Popular Hobo Graffiti Magazine, a chronicle of forgotten outsider subculture.
The Winter Park Playhouse explores the life of George M. Cohan and his landmark contributions to the American Songbook.
Anthony Mann’s gorgeous monochrome western, The Tin Star, may have been shot in black and white, but its themes are never that easily defined.
Charles DJ Deppner finds Flipside to be a vital treatise on mortality, creativity, and purpose, disguised as a quirky documentary about a struggling record store.