Thursday, February 20 2003
It’s easy to remember single pieces of Kris Kristofferson’s career: his role in the Highwaymen, his work as a grizzled character actor, “Me
Ever since Throbbing Gristle first chrome-plated their eerie, mechanical rock in the mid-‘70s, there have been countless imitators. However, at present, the electro-meets-metal guise
Gil Scott-Heron reinforces his position as Godfather of Rap on Free Will, an introspective and soulful album roughly the length of a demo tape. Police
I’m so tired of bitching about sloppy, incomplete compilations that it’s a thrill to find myself non-stop ecstatic dancing to The Very Best
Though maybe not a thousand, there are certainly a great many reasons to like Paper Moon’s debut full-length release, One Thousand Reasons To Stay . . .
If Doug Powell is the new Todd Rundgren, then The Lost Chord is his A Wizard, a True Star, the album where he takes his
Sometimes stillness and quiet can be more attention getting than noise and movement. The hush that falls over an audience just before a performance starts,
Finding a favorite CD for an emotionally extreme ADD music junky like myself is only slightly better than asking me which one of my friends
Maybe it’s part of being a woman and a girl, this admiration for love that I have. It could be the elements—the gravity
In its “50 Most Essential Punk Records”, Spin magazine praised Devo’s Q: Are We Not Men? A: We Are Devo! for being “laced with acrid
Acid jazz was never really a completely coherent genre. Instead it presented a grab bag of funky grooves from ‘60s and ‘70s soul jazz artists,
Ani Difranco is a sort of modern-day Holden Caulfield. That is, if the subject of Catcher in the Rye would have been a bisexual female
Eric Andersen was in the same clique as Robert Zimmerman in the early ‘60s. Performing around the Greenwich Village coffeehouses and folk “cities”, the duo
ANTiSEEN Eat More Possum(TKO)Original US release dates: March 1993US reissue release date: 1 October 2002 by Mark DesrosiersPopMatters Features Editor and Columnist antiseen-drastic.jpg :.
Only Clint Eastwood could have cooked up a more dramatic climax to an innocent-man-on-death-row plot, which he did, in True Crime.
By turns daunting and absorbing, the film is about movement that seems hopeless, that takes you nowhere, that's increasingly slowed but also increasingly urgent.
Suleiman proves himself an essential voice in world cinema because his formalism is inextricable from the political moment it documents.
It's unlikely that this gloominess accounts for Daredevil's big success. There are any number of plausible explanations -- the 'Sexiest Man Alive' and his J. Lo glow, the promotional blitz, the Marvel machine. No matter. Bring the pain.
This is a scary city, where scary figures hang out on scary corners and slouch with scary insouciance. No wonder the cops are tense.
Wednesday, February 19 2003
A work of mourning -- mourning for a humanity, an earth which has lost control through globalisation, through the irresponsibility of power-crazy politicians and businessmen.