Ghosts of the Great Highway by Sun Kil Moon (Review)
The album’s most affecting moments are certainly its most languid and leisurely.
We’ve Lost the Outrage
You can never take society’s moral outrage seriously because society doesn’t want to rock the boat.
Margerine Eclipse by Stereolab (Review)
It feels rather unfocused and meandering, like the group hit a brick wall after a decade of making the same lovely sounds.
Cast of Thousands by Elbow (Review)
Cast of Thousands is much deeper and more fully-realized than might be implied by the obvious Radiohead comparison.
Seqsextend by I/DEX (Review)
What primarily elevates Seqsextend above being just another glitch exercise is that there’s a nigh-living, breathing quality to its songs.
Concert Review: Conor Oberst, Jim James, M. Ward (February 2, 2004, Omaha, NE)
Join The Dots: B-Sides & Rarities, 1978-2001 by The Cure (Review)
A microcosm of The Cure’s entire career, highlighting nearly every rise and fall, every stylistic direction, every bold experiment, and every failure the band has ever had.
Bloodflowers by The Cure (Review)
This album is a reminder that no good thing can remain forever, and that we ought not to take them for granted while we have them around.
Battle Royale 2 by Kenta Fukasaku (Review)
Battle Royale 2 takes everything that was great about Battle Royale and replaces it with something that’s formulaic, amateurish, and exploitative.
In One-Hundred Years The Prize Will Be Forgotten by The Potomac Accord (Review)
The Potomac Accord manage to twist a number of post-rock clichés by using piano as a lead instrument.
If we’re made in the image of God, what does that say about the God in Whose image we’re made?
The 2004 Grammys
I was amazed at just how self-congratulatory the entire ceremony felt.