Movie Review: One Floor Below

By Sachin Hingoo

The most cursory viewing of Radu Muntean’s One Floor Below reveals a very banal, uninteresting portrayal of a man who does nothing, and frankly, that’s the point. Examining the Romanian thriller beneath the surface, however, provokes some hard questions about what it means to exist in society and the responsibility we have to each other in times of tragedy and danger.

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DVD/Blu-Ray Review: Frightmare (1981)

By Jeffery X Martin

Think about something you hate, or try to remember something that made so little of an impression on you that recalling details about that thing is difficult or impossible. The shocking truth is that thing is someone else’s favorite thing in the whole wide world. It could be a song, a book, a movie; it doesn’t matter. Somewhere out there, someone’s thinking of that thing you despise with a fondness you will never understand.

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Today in Pop Culture: Louder Than Bombs

By Jeffery X Martin

Ever since Humankind figured out how to make things explode, we’ve been doing it at the most inappropriate times around people who weren’t expecting it. That’s an abuse of power, as far as I’m concerned, a perversion of knowledge. A sudden explosion is the meanest prank imaginable.

Let’s go back to this date in 1957. A man named George Metesky is arrested in New York. He’s a mild-mannered guy. Heck, before he got arrested, he changed clothes and went to jail wearing a natty double breasted suit. Nobody called him George, though.

His nickname was “The Mad Bomber.”

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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.

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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.

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Today In Pop Culture: America, Meet Patsy Cline

By Jeffery X Martin

Country music has always been a male-dominated genre, from Hank Williams to Hank Junior to whatever the hell you want to call Florida-Georgia Line and Locash. You can hear a strong female voice every once in a while, but in a ratio comparison to men, those ladies are few and far between. But it is far to say that there was a female revolution in country, starting in the late 1950s when one of the most distinct female voices the world has ever known got her start on a national television show.

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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.

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Today In Pop Culture: Eat Fresh With Ozzy Osbourne

By Jeffery X Martin

Modern-day 21st century heavy metal is boring. Yeah, I said it. Boring. There’s no flair, no theatricality, no sense of something greater than itself. Bland long-haired boys with guttural voices and quadruple-kick drums, honking and snorting their way through what they loosely refer to as “songs” while the audience punches each other and waits for the breakdown.

The Eighties, though? That was the time. That was the Golden Age of Heavy Metal. Bands were real bands, and wore codpieces without shame or cause. There were pyrotechnics and crazy visual effects. The stage was a giant Satanic playground, with pentagrams flying like boomerangs everywhere. It was goofy and joyous, and sometimes it went a little too far.

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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.

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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.

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