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As those of you who have already heard “Reflektor” no doubt know, the album is fantastic, one of the best of the year for sure, whether the Grammys take notice or not.
Ralph Alessi’s compositions are flexible rather than tightly organized, yet their initial statements are strong enough to dominate even the freest group improvisations that follow.
Read MoreThe slow tempos on the whole didn’t hurt the show. People were there to hear Madeleine Peryoux — her voice and delivery, her offbeat arrangements and particular idiosyncratic take on familiar songs.
Read MoreCormac McCarthy’s rambling but brilliant screenplay is given vigorous direction by Ridley Scott, whose elegant visual style captures the tense downward spiral of the film’s doomed characters.
Read MoreRemembering Lou Reed, who died Sunday at the age of 71.
Read MoreSaturday’s pairing demonstrated exactly the kind of risky programming the Boston Symphony Orchestra shouldn’t be afraid to explore, even when it doesn’t all quite come together.
Read MoreStoneham Theatre’s atmospheric staging of Jeffrey Hatcher’s version of “Dr. Jekyll and Mr. Hyde” is a production well worth seeing — it lives up to its billing as “a new look at a horror classic.”
Read MoreWhenever you hear greeting card bromides intoned with a straight face (it’s usually in scenes set in a hospital) you know that moral fuzziness isn’t far behind.
Read More[Updated.] Arts Fuse critics select the best in dance, music, and film that’s coming up this week.
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Book Review: Julian Assange Trades Hopes and Fears With Cyberpunks
Any book in which the fourth sentence is “The world is not sliding, but galloping into a new transnational dystopia” runs the risk of overstating its case from the get-go.
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