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Croatia’s best-known Opera is like The Bartered Bride or a lighter-spirited Porgy and Bess: tuneful, engaging, and stageworthy.
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Nashville songwriter Aimee Mayo’s memoir offers an eye-opening perspective on the problematic treatment of women in the country music industry.
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This surprisingly seamless record belies its logistical shuffles and players’ cultural differences with a relaxed sonic identity.
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A B-movie inspired horror-comedy, Psycho Goreman is a delightfully schlocky homage to entry-level, kid-centric horror films but with the sort of grotesque violence one would expect from a more adult-oriented movie.
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Censor explores thought-provoking questions about the strange relationships between films, society, fantasy, and reality — and individual identity — in an increasingly mediated and violent world.
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On Welfare Jazz, Viagra Boys succeed through their skillful manipulation of pure bombast, spurred on by haywire grooves as well as plenty of oversized personality.
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An intriguing look at smashing the patriarchy through the art of pole dancing.
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Even though they are a cover band, Foxes and Fossils’ performances are fresh and delightful. While faithful to the originals, they are not slavish imitations.
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The Cameraman is the hilarious capstone to a glorious period that began for Buster Keaton in the late teens.
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This splendid world-premiere recording proves that, as an opera composer, Johann Simon Mayr had “the whole package.”
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