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To my ears, these beautifully recorded improvisations — with their unique sequences of tones and subtle interactions — are never less than intriguing.
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This prequel is the rare instance of a horror film, in this case a prequel, that is better than its predecessor.
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A world-premiere recording of Richard Flury’s fascinating 1935 opera about love, deceit, and the possibility of forgiveness.
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Age certainly wasn’t an issue in terms of energy. Elvis Costello played for a solid two hours with barely a break, running through four decades of music with a heavy emphasis on the old favorites.
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A Memorial to Ice at the Dead Deer Disco does not demand political action from its audience. Instead, it allows viewers to sit within the stark reality of the present, and perhaps find some community within the shared reality that the space creates.
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For the most part, co-creators Will Graham and Abbi Jacobson have easily justified the need for a reboot of the admired 1992 sports film.
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This horror comedy traps a cadre of privileged, narcissistic Zennials in a whodunit murder mystery and lets their internet-addled delusions of grandeur tear them apart in the paranoid fallout.
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Walter Crockett’s beautiful album is as multifaceted as life itself.
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Nico Muhly’s writing in Stranger is of a type of post-Minimalism: often pulsing (or undulating) and rhythmically driven, though anything but harmonically simplistic.
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Book Review: “As It Turns Out” — Not Enough About Edie and Andy
Alice Sedgwick Wohl has a disturbing tendency throughout the book to back away from her points even as she makes them, as if afraid she will find herself trapped in some politically incorrect cul de sac or just a bad neighborhood.
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