Wednesday, September 17 2014
Like the cobwebs and spider webs that colonize a neglected basement, Haruki Murakami’s filamentous plot threads trail uncannily across our psyches.
In Stuff Matters, Mark Miodownik, a quirky science writer, shares his love and knowledge of the materials that shape our world.
Patrice Chéreau's multiple César winning film receives a lavish 20th anniversary edition from Cohen.
If you happen to be in the market for a new, hyper-hip iteration of slow-burning electronica, then Jillian Banks is your girl.
On his third release as GRMLN, Yoodoo Park expands and explores pop-punk's roots.
'Walt Before Skeezix' offers an in-depth look at the early days of 'Gasoline Alley' in a beautifully-presented volume.
Between Colours reaches for the sun and the stars, not to mention the backs of the bleachers.
Sarah Jaffe speaks volumes while singing very little on Don't Disconnect's futuristic indictment against modernity.
Similar to albums by Kilgour's band the Clean, End Times Undone feels longer than it is, in a good way.
Die Antwoord have described their work as "exaggerated experience", and that's apt. Anger, lust, passion, violence - all things through the lens of Die Antwoord become amplified to the point of deafening.
Tuesday, September 16 2014
This, of course, is how such concoctions work: all supporting players tell you something about the original squabbling family members, and each of these tells you something about the primary family member.
Matt Fraction is leaving Hawkeye. It's just never gonna be the same.
The Bone Clocks merges set-scenes of imaginative showdowns with intellectual reflection, which will reward the keen and alert reader.
Blue Eyed Pop includes a trove of candid band shots, live performance photos and more that would otherwise go unseen by anyone outside of Iceland.
Silly sexual politics prevent this film from being a bona fide classic.
Circle the Wagen begins with the end in mind, and suffers as a result.
Ten years on, Death from Above 1979 kicks just as much ass.
Labored and unfocused, the study that Luis Sanchez attempts with SMiLE is a poor fit for the 33 1/3 format.
By time a song ends, one has undergone the journey from ignorance to familiarity accompanied by a sense of Déjà vu as if one already knew what one never has known.
Classic Zeus is sturdy and stormproof, and has enough memorable hooky hooks to make your head spin.