Review
The Gravel Project respects its roots, but its new album demonstrates how a band can honor its influences without being smothered by them.
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Ornette Coleman turned to me and said, “You know, you can never really be out of tune. You are always in tune with something.”
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The centenary of bassist/composer Charles Mingus’ birthday is days away and I am listening to the beautifully packaged and processed and richly annotated 3 lps of Mingus’s Lost Album, recorded live at Ronnie Scott’s London club in 1972.
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“Every record can have its own unique sound, depending on who has owned it, who’s touched it, where it’s been. That’s really important to me.” This movie makes you realize that these things should be important to you, too.
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Without letter-perfect performances from the actors I’m not sure Severance would work anywhere near as well as it does.
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Ocean Vuong’s new collection of poetry is a dazzling investigation of love and loss, inspiring both nostalgia and release.
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The world of Harrow is a Mad Max dystopia for intellectuals. It’s Bladerunner without the tech.
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The Boston Early Music Festival returns in person — and in a world-premiere recording of a German Baroque opera.
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Big Thief is a largely somber folk-rock outfit fronted by introspective singer/songwriter Adrianne Lenker that doesn’t care much about showmanship.
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It’s a work that shifts gears often, which is not in itself a bad idea for a book about a famed shape-shifter.
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