// Category Archive for: Reviews

Music Review: Cait Brennan, Debutante

By Melissa Bratcher

When Sloan’s Jay Ferguson was writing “Waiting For Slow Songs,” he may have been writing about Cait Brennan, but didn’t even know it. “‘Cause you write the saddest songs / turn around and make it a singalong / the heart scratch melody / means there’s more than this for you and me.” Cait knows a heart scratch melody and knows how to swaddle a sad song in the prettiest, most glorious melodies and harmonies, and make it furiously catchy. I’ve had Cait Brennan’s Debutante on my iPod for quite a while now and every time one of the tracks pops up, I immediately need to rewind and hear it again. Simply put, Debutante is the kind of record that artists dream of recording. It’s been a long time coming.

(more…)

Music Review: Sonya Kitchell, We Come Apart

By Melissa Bratcher

Sonya Kitchell began her recording career in 2006 when she was 17 years old, which is impressive enough to note. Better yet, after her debut, Words Came Back To Me, Kitchell diversified by recording an EP of string quartets, collaborating with Herbie Hancock on The River: The Joni Letters, playing at Montreaux Jazz Festival, the Newport Folk Festival, and winning two Grammys (for The River: The Joni Letters, and Tedeschi Trucks Band’s Revelator). She’s a woman of many parts and a rich wellspring of talent.

(more…)

Book Review: Orphans

By Jeffery X Martin

Many people believe that horror fiction begins and ends with Stephen King. It’s easy to see why. King has sold 900 gabillion books, and they keep coming out. The man could publish a phone number scribbled on the back of a receipt and the New York Times would drool all over it.

That’s fine, but that means that a lot of readers aren’t taking full advantage of their resources. There are a plethora of small presses publishing quality horror. Self-published authors are also creating some fantastic work. It’s not all dinosaur erotica and woodworking books.

(more…)

Music Review: Bad Reed, Bad Reed

By Tyler Hodg

The first effort from Ontario, Canada-based Bad Reed is a three-song self-titled EP. Just enough to taste what the band is about, the ensemble exhibits their genre-fluent music within the short compilation.

(more…)

Music Review: Saul Williams, MartyrLoserKing

By Sachin Hingoo

“I want the politicians, police, and all who stand in the face of democracy with overzealous self-interest to know that their candle is burning at both ends and that the collective WE will never be silenced, and the more they try, the more our voices will be heard. The technology of awareness is solar powered and cannot be turned off.”

Despite creating poetry and spoken-word performances since 1995 and steadily releasing music since his 2001 album Amethyst Rock Star, there’s a consistent rawness and openness in Saul Williams’ work that’s much more typical of someone in an earlier stage of their artistic career. That’s not a knock on Williams at all; in fact, quite the opposite. Successful artists of every sort have a way of closing up and playing things a lot safer as their careers wear on, often to avoid offending the powerful and influential friends they’ve made over the years, or just to maintain a steady stream of guaranteed income. Artists like Williams have an incendiary freeness, a kind of nothing-to-lose sensibility, that allows them to take their projects down lesser-used and unique avenues. This is something that Williams has always been able to tap into, most recently on his new album, MartyrLoserKing.

(more…)

Movie Review: The Forest (2016)

By Lisa Anderson

The horror genre loves a good controversy, but not all controversies are created equal. The Forest, from director Jason Zada, has taken criticism not for violence and gore, but about whether it exoticizes its Japanese location or trivializes the problem of suicide. As it turns out, though, there’s more than that to dislike about this sub-par movie.

(more…)

Music Review: Bloodiest, Bloodiest

By Tim Murr

“Doom-laden hardcore psych-metal” is how you’d describe the sophomore album from Chicago’s Bloodiest, a six-piece experimental band with members from Russian Circles, Corrections House, and Yakuza. If you are a big fan of Black Sabbath, Neurosis, Saint Vitus, Unsane, or the Melvins then Bloodiest should fit your taste quite well. Mixing 1990s hardcore, drone, and noise, Bloodiest creates a heady brew.

(more…)

Music Review: JD Souther, John David Souther

By Melissa Bratcher

It’s strange to hear a reissue of an album from 1972 that sounds as current as Omnivore’s reissue of JD Souther’s John David Souther. It’s not a difficult argument to make that Souther’s cult-classic albums were precursors to present day Americana. It’s all here: thoughtful lyrics and a high lonesome voice (on occasion); momentary fiddles and bottleneck guitar. JD Souther is a songwriter’s songwriter, known for writing for the Eagles (all of their good songs? Souther had a hand in those, like “New Kid In Town” and “Heartache Tonight”), and his songs have been covered by artists from Glen Campbell to India Irie to Linda Ronstadt.

(more…)

Movie Review: Cherry Tree

By Tim Murr

The weight of the world is on the shoulders of 15-year-old Faith. She’s forced to go to school and act like everything’s normal while her father is dying of leukemia. Faith rages at the unfairness and hopelessness of it all until her new field hockey coach, Sissy, approaches her with an offer to cure her father, using intimate knowledge of ancient witchcraft. In exchange, Faith only has to have a baby for Sissy.

These sort of things always work out, right?

(more…)

Blu-Ray Review: Edgar Allan Poe’s Black Cats

By Jeffery X Martin

“The Black Cat” isn’t usually the first story that comes to mind when people think of Edgar Allan Poe. It tends to get overshadowed by his poem, “The Raven,” or his story, “The Tell-tale Heart,” which actually shares a lot of plot devices with “The Black Cat,” but that’s not important right now. What is important is that Poe’s work is public domain. No one owns it. That makes his work ripe for the gutting by film producers and writers. Slap Poe’s name on it somewhere and you’ve got a built-in audience of horror fans and American Literature majors.

Roger Corman certainly made his nut making quickie Poe flicks, but that’s not important right now, either. What is important is what happened to “The Black Cat” in the hands of two stylistically different Italian directors, horror maestro Lucio Fulci and giallo king Sergio Martino. Their two versions of Poe’s old tale can be found in one beautiful box set from Arrow Video.

(more…)