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Lightning Bolt, Pearl Jam’s tenth and latest studio album, takes the band’s newfound (or at least newly re-found) appreciation for radio-friendly mainstream rock and successfully stretches its parameters a bit.
Interestingly, both of these powerful visions of horror root their avenging vision of mayhem in the brutal mistreatment of children.
A new disc of music by Martin Schlumpf, one of the leading figures in Swiss contemporary music whose career focuses on “the borderlands between improvisation and composition.”
The Boston Symphony Orchestra lacks a composer-in-residence. There are many local composers the orchestra might draw on were it to establish such a position, but few have the international reputation of someone like Thomas Adés.
Every few years, people ask, “Is Jazz Dead?” Nights like this, with living masters and future stars all paying homage to a dead legend whose music will live forever, refute the pessimism.
Tomorrow night Deacon Leslie Pittman, an emerging star on the gospel quartet circuit at the age of 81, comes into town with Philadelphia’s Just Us Singers.
Director Bill Rauch’s concept and the Oregon Shakespeare Festival company have, in a small space, created an achievement of monumental, yet personal, proportion.
The Oregon Shakespeare Festival is an annual theatrical adventure for many on the West coast, and should become one for the rest of the country – but make reservations early.
Updated. Arts Fuse critics select the best in music, dance, and film that’s coming up this week.
Cocaine’s bleak and brilliant satire, lush and intoxicating prose, and sadistic playfulness remain as fresh and caustic as they were nine decades ago.
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