Music
Sigma Oasis is one of Phish’s better albums since the group reunited in 2009 after a five-year breakup.
Many of the qualities that mark Penderecki’s best work – exquisite technique, an innate feel for rhythmic athleticism, an ear for dazzling colors and theatrical gestures, an impeccable sense of musical structure, and the affinity for emotional immediacy – are also hallmarks of Rouse’s.
I’d have to give the edge to Dave Liebman in terms of innovative creative reach. But Lakecia Benjamin more than holds her own in how she gives re-vitalizing attention to some very important musical roots.
Childish Gambino is hamstrung by ambition, but 3.15.20 still contains a bevy of enjoyable songs, including one or two tracks that brush against brilliance.
When I think of Bill Withers I think of just three handclaps. It’s my favorite example in his music, or just about anyone else’s, of the power of restraint — not slamming and flailing about to shift a groove into overdrive.
Musicians Aaron Halford and Matty Michna describe their journeys to Boston and ponders their futures beyond The Hub.
Bob Dylan’s new song not only articulates the madness that undermines the American experience, but supplies a certain kind of corrective, a tonic, for that kind of insanity.
An 1829 opera about Elizabeth I and her supposed lover — enlivened by underhanded threats, virtuous resistance, remorse, and an attempted poisoning — proves well worth reviving.
The new album demonstrates just how versatile a singer/songwriter Mike Mattison really is.
Ironically, Mixing Colours is best experienced by taking in its video presentations.
Recent Comments