A sultry, locomotive shuffle of hip-hop and hot blue funk, Shabazz Palaces' "Bad Bitch Walking" features Ishmael Butler as a susurrating lover whose languid gaze of a woman is slowly supplanted by the erotic ellipses of female motion.
With the release of Shabazz Palaces' The Don of Diamond Dreams, producer-rapper Ishmael Butler envisions yet another lunar world of sound disturbed by his anxieties and desires.
On Marlowe 2, L'Orange finds an inventive range, interleaving the hip-hop with textures that bring his landscapes into tuneful definition; Solemn Brigham, brings his deft skills as one of hip-hop's brightest poets.
On his latest work,The Sun, rapper Raashan Ahmad brings his irrepressible charisma to this set of Afrobeat-influenced hip-hop.
MaestroAeks' Sapodigo is a collection of blunted hip-hop tunes, sometimes nudging a fulsome boom-bap and other times trading on laid-back, mellow grooves.
Fat Tony proves a bright, young artist making waves amongst the new generation of hip-hop upstarts.
Hugh Fleetwood's difficult though absorbing A Young Fair God offers readers a look into the age-old world views that have established and perpetuated cultural rank and the social attitudes that continue to divide us wherever we may reside in the world.
Constructed with the intricacies of jazz, charged with the muscular pump of rock, and executed with punk's ferocity, Defunkt remains one of popular music's most intriguing acts. Frontman Joseph Bowie talks with PopMatters about the band's long, colourful, and arduous journey.
Through a brazen performance, one to obliterate all performances that came before, Isabelle Adjani gives her Claudel a true body in which to house all her drive and desire in Bruno Nuytten's Camille Claudel.
The Serpent's Egg bares many of the Bergman's trademark features – the suffocating auras of despair and an underdog's sense of triumph over tragedy – but falls short of a more intelligent rendering of human drama.
The Fan, a gritty stalker-thriller, runs like clockwork, earning a steady momentum toward a stylishly spooky finish.
My Name Is Julia Ross is fast, direct, and easy fun. It never tests the viewer's patience with unnecessary trills.
George Cain's 1970 semi-autobiographical novel Blueschild Baby, recently republished by Ecco, is a difficult and unapologetic work about the life of a functioning drug addict. In this interview Imran Khan discusses Cain's work and life with his ex-wife, Jo Lynne, and son, Malik.
Giovanni Marks, the William S. Burroughs of hip-hop, offers up his thoughts on the trials and tribulations of an indie hip-hop artist.
A romantic thriller that boasts a contribution from John Carpenter, Eyes of Laura Mars benefits greatly from the gritty '70s Manhattan scenery.
Exploring topics like poverty, Black consciousness, burgeoning love, and mortality, Jahshua Smith's latest album, They Don't Love You Like That, encapsulates some of the most difficult moments in his life.
Linda Fiorentino pulls out all the stops and delivers a tour-de-force performance in John Dahl's gripping neo-noir, The Last Seduction, a film full of blue moods, dark humour, and hairpin turns.
Bernard Rose's Candyman offers a moody "elegance", if you will, that's sorely lacking in other horror films of the era.
As seen in Foggage, Patrick McGinley's fiction reveals a writer whose worth lies in his ability to balance perverse humour and human pathos on the cutting blade of his perfectly turned phrases.