If there's one place that continues to have an insatiable hunger for '80s metal 20 years after the fact, it's Brazil, something we can hear in the music of Angra, one of the country's most well-known metal exports. Heavily indebted to classic power metal, and little else, the Sao Paolo band doesn't mask their influences; they flaunt them, to the point where they often tend to stray towards near-ludicrous levels of pomposity. Nothing's changed on Angra's sixth album, as the quintet dutifully hops from style to style, showing a spectacular lack of focus, but having a ton of fun doing so. The first four tracks alone are a microcosm of Angra's flamboyant style: "The Course of Nature" is a decidedly heavy, melodic track that could stand alongside anything from Queensryche's current incarnation, "The Voice Commanding You" is shameless in its Helloween mimicry (double-time rhythms, staccato picking), "Ego Painted Grey" mines Dream Theater's back catalog, while "Breaking Ties" is a sickly sweet power ballad. Aurora Consurgens is an invigorating listen, bursting with energy, vocalist Edu Falaschi displaying remarkable range, but in the end, the band fails to create a sound they can call its own, and savvy listeners will be too distracted by the parts that ape Stratovarius, copy Styx, and duplicate Gamma Ray in this metal mish-mash to care much about it.
In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.
Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.
Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"
Encounter Across the Abyss: Examining the Ontology of the Self in Toni Morrison's 'The Origins of Others'
Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.
It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.
A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.
When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.
In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.