Over the Rhine, The Long Surrender

By Magda Underdown-DuBois

I was introduced to Over the Rhine when they opened for Ani DiFranco a few years ago. The girlfriend who bought us the tickets explained to me that the married duo of Karin Bergquist and Linford Detweiler had begun making music in the arena of Contemporary Christian, but had then broadened their reach to incorporate the deeply personal mundane that dominates the singer-songwriter genre these days. When I picked up The Long Surrender, I expected something similar to what I heard onstage so long ago. Their press release and the Notes within (a preface to the duo’s musical story written by their producer Joe Henry) argued against these preconceptions.
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Anna Waronker, California Fade

By Less Lee Moore

Singer/songwriter Anna Waronker has surrounded herself with talented musician friends for her second full-length album, but no voice rings as clear as Anna’s own. Her lovely alto is the shining star in this collection of tunes on which she also plays piano, guitar, synths, and more. Waronker has a real gift for harmonies and melodies; these skills become particularly gratifying in the way she crafts the endings of her songs, as they transcend the typical fade out or repeated chorus, and transform the entire song into something better than the sum of its parts. Additionally, Waronker’s vocal and string arrangements are beautifully crafted.
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Everything In Between: The Decemberists

By Maureen

Beacon Theatre, New York NY
January 25, 2011

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I have to steal a quote I overheard from a fellow fan at the merchandise table: “I’ve seen them many times, and every time it’s like, totally different.” The Decemberists played a three-show block at the historic Beacon Theatre this January. I attended the “middle” show, which was originally the only show, as the other days were added to accommodate incredible ticket demand. This is my third experience with seeing the band live, throughout more than five years of being a fan. This current “Popes of Pendarvia” Tour follows the release of their newest album The King is Dead.
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The Power & The Glory: White Lies Live

By Less Lee Moore

The Mod Club, Toronto ON
January 29, 2010

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Rare is the band that I like immediately upon hearing them; rarer still is the one that can sustain that feeling in a live setting. White Lies have accomplished both.

Hugely popular in Britain, White Lies played just four dates in North America this time around—actually three, since their New York show at the Highline Ballroom was canceled at the last minute due to bad weather. Luckily, Toronto residents did not have to miss them at the Mod Club last weekend.
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Bigger Than Us: Q&A With White Lies

By Jim R. Clark

If you haven’t listened to White Lies’ debut album, To Lose My Life yet, well then, what are you waiting for? Now is the time. Their new album, Ritual, was released on January 18. Much like reading chapter two in a great novel, you won’t want to forge ahead without reading chapter one first.

As you may know from reading my previous articles, I’m an avid fan of the ’80s electronic sound, so I’m excited. Personally I’m still hoping for a cover of Alphaville’s 1985 song, “A Victory Of Love,” but I think that may be asking too much. (For some reason, I’m convinced that this song would make for an awe inspiring show stopper if given the White Lies treatment, but then again, that’s just me.)

White Lies just completed a few dates in the US and North America (sadly, their NY show was canceled due to a snowstorm) and has scheduled a British tour in February to promote Ritual, so if you’re reading this in Britain, then get up and buy some tickets. And if, like me, you’re not in Britain, try to catch them on Later . . . with Jools Holland reruns on BBC America.

The band took some time out from their busy touring schedule to answer a few of my burning questions and shed some light upon their dark and mysterious nature, hinting at the more electronic sound for their second album.
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The Adventures Of Miss Flitt: Q&A With Designer Beth Hahn

By Chelsea Spear

In the late 2000s, knitwear designer Beth Hahn took the knitting world by storm with her series, The Adventures of Miss Flitt. Blending steampunk-friendly Victorian style, elegant knitwear designs, and an addictive narrative, the series follows the adventures of Emma Flitt as she traverses 19th century Brooklyn to find her sister. Her travels take her to seedy vaudeville theaters, pickpockets’ dens, and—in the most recent edition—to a most spooky séance. Ever the master storyteller, Hahn weaves her story through a series of simple-yet-gorgeous and thoroughly wearable cardigans, berets, overskirts, and other accessories.

On a chilly weekend in early January, I took virtual tea with Beth Hahn to find out more about her knitting endeavors.
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A Goddess At The Console: Q&A With Mary Edwards

By John Lane

In another era, Mary Edwards might have been a behind-the-scenes songwriter in the famous Brill Building, that renowned stable of musical artisans that included Goffin & King, Laura Nyro, and a host of others. Instead, in this era, we are lucky to have singer/songwriter Mary Edwards in clear view. Her music is characterized by a smooth charm that draws upon soft-pop, jazz, and funk, framed with a soulful voice that is reminiscent of Dionne Warwick in her prime; her attitude reflects an almost guileless enthrallment with music and the sometimes subtle, gifted influences that can become songwriting fodder. I caught up with Mary upon the recent release of her latest album, Console.
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Destroy All Movies!!! The Complete Guide To Punks On Film

By Less Lee Moore

Any marginalized subculture bristles at being misinterpreted on film. Then again, the punk subculture is by now so fragmented and unrecognizable, one hesitates to even attempt to define it, much less depict it on the screen.

Yet best friends Zack Carlson and Bryan Connolly spent five years documenting each and every appearance of punks on film. They were inspired to undertake this monumental task after re-watching Penelope Spheeris’s quasi documentary Suburbia and then shortly thereafter, seeing Joysticks, a video arcade comedy from 1983, for the first time.
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The Dad Abides: Tron: Legacy

By Lisa Anderson

There have been a lot of father-son issues in movies lately.

Tony Stark deals with his father’s legacy in Iron Man 2. Robert Fischer’s feelings toward his recently departed father make possible the titular mind-crime in Inception. In The Town, Ben Affleck’s character has a troubled relationship with his jailed dad. Even the critically panned Wall Street 2: Money Never Sleeps is about the daughter of Gordon Gekko. (Okay, it was actually about her boyfriend, but still.) It’s easy to wonder if it’s just coincidence—after all, fraught relationships are an easy way to raise the emotional stakes in a story—or if there’s something going on the in popular subconscious. No recent movie has put father-son dynamics as close to the forefront, though, as Tron: Legacy.
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The Big, Bad World Of The Good Wife

By Less Lee Moore

Alicia and Peter Florrick

At first, preview spots for CBS’s The Good Wife looked less than promising: another press conference, about another cuckolded wife of a politician. Even the casting of dashing Chris Noth and long-absent-from-TV Juliana Marguiles didn’t appeal to me.

Then there was the name of the show itself: The Good Wife. It just seemed . . . stuffy.

I started catching bits and pieces of the show by accident. Despite my misgivings, it was actually intriguing, on par with the best episodes of Law & Order (Rest In Peace). Then one night I was flipping channels and there was Alan Cumming as conniving political campaign manager Eli Gold, bitching out and out-bitching some snarky-looking teenage girl. Suddenly, I was hooked.

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