Review
With The Purists, Dan McCabe has written a comic drama that not only has a lot to say, but does it with an enormous amount of playful vim and vigor.
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Semyon Bychkov and the Czech Philharmonic do justice to a lot of Tchaikovsky’s orchestral music, while John Eliot Gardiner and the London Symphony play Robert Schumann’s famously-dense orchestrations with clarity. But Michael Stern’s account of The Planets completely lacks mystery.
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Linda Ronstadt was every young female singer’s aspirational goddess: if you could nail “You’re No Good” or “Blue Bayou” in the car or the shower, you had practiced a lot.
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Julia Wolfe’s Fire in my mouth is one of 2019’s most memorable recordings; Donnacha Dennehy’s The Hunger, a meditation on the Irish potato famine of the mid-19th-century, leaves an indelible impression; Derek Bermel’s Migrations is a grand celebration of one of America’s great living composer at the top of his game.
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Fontaines D.C. are gonna be big, or at least as big as a real rock band can be these days. And they’re making it all look effortless.
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On the same week that heavy prog-rockers Tool scored the No. 1 album in the country, it was great to see Jack White let down his wavy black hair, smile a bunch, and kick out the jams with his buddies.
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Carolyn Michel’s Rose is the sociable stranger on the bus who tempts you to miss your stop so you can hear her out to the end.
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Any traditional notions of what does, or does not, constitute a book are challenged here — you will find yourself searching for a definition that fits.
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Nell Zink’s latest novel is vast, aspiring to epic stature — it’s a curious take on the times that have befallen us.
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Heard as a Miles Davis record pure and simple, Rubberband is one of the strongest from the comeback period.
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