Music
A charming rendition of Ravel serves as a perfect foil to the rigors of the Schoenberg, which, tough nut though it remains, here gets just the sort of devoted advocacy it requires.
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Joe Strummer is clearly having a ball that night, in fine form: cracking jokes and proudly announcing his bandmates.
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This is a Tchaikovsky Fifth that’s thoroughly lived in.
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Listening to the superb “El Arte Del Bolero, Volume Two,” I feel that these are two masters who, while recalling their various ancestries, are talking to me.
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The veteran English art-rocker gave a slow-to-develop but brilliant near-three-hour show that tapped stunning visuals while evolving from the cerebral to the celebratory, culminating in a joyous “In Your Eyes.”
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“I always thought this would last six months,” confesses Melvins guitarist, singer, and songwriter Buzz Osborne. “You really can’t count on anything.”
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Marin Marais, memorably enacted by Gérard Depardieu (and his son Guillaume) in the film “Tous les matins du monde,” proves a master of Baroque opera in this splendid recording.
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These witnesses to history are no longer playing with the fire of their youth, but they exude the confidence, warmth, and sure instincts of veterans.
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Godspeed’s left-wing view was most clearly reflected at a merch table dominated by books on working-class resistance and anarchism, while the group’s dissonant post-rock embodied tension.
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“Blood In the Tracks” delivers a minor miracle: a host of fresh looks at the most (over)written about musician of our age.
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Book Review: “American Purgatory” — Prison as a Form of Social Control