Amos Lee
Supply and Demand (EMI/Blue Note). Review by Andrew Ellis.
Supply and Demand (EMI/Blue Note). Review by Andrew Ellis.
It Is What It Is (Little Red Records). Review by Andrew Ellis.
Every Man For Himself (Island). Review by Andrew Ellis.
Desert After Rain (Self-Released). Review by Andrew Ellis.
Curvature (Machines & Dreams/Blumpco). Review by Andrew Ellis.
Astronomy Is My Life, But I Love You (Self-Released). Review by Andrew Ellis.
New Arrivals: Volume Two (MPress Records). Review by Andrew Ellis.
Travelin’ On (King Mouse). Review by Andrew Ellis.
Stay/Leave (Self-Released). Review by Andrew Ellis.
No Regret (T-Recs). Review by Andrew Ellis.
Pain Is a Megaphone (Icon/The Console). Review by Andrew Ellis.
Lucid Dream (Dualtone). Review by Andrew Ellis.
Snapshots of the Universe (Ruby Records). Review by Andrew Ellis.
The Calling (Zoë/Rounder Records). Review by Andrew Ellis.
Vintage Stages Live (Kirtland). Review by Andrew Ellis.
The Wanderlust Diaries (Dualtone). Review by Andrew Ellis.
Heart Gone Sober. Review by Andrew Ellis.
Congress Hotel (Rock Ridge). Review by Andrew Ellis.
Watching Waiting (Inspiration Factory/Fontana). Review by Andrew Ellis.
The Warehouse Sessions (Self-Released). Review by Andrew Ellis.
John Badham’s 1983 future-tech helicopter thriller, Blue Thunder, with its cautionary tale of militarized police and a surveillance state, still resonates decades later.
What if the miracle of sight came with a curse? The Eye builds its horror from that chilling premise.
With the thirty-fifth anniversary of debut album Whirlpool, UK shoegaze outfit Chapterhouse is back together again and touring the US as part of Slide Away Music Festival.
The Englert theater hosted Little Feat as they embark on their Last Farewell Tour.
Meiko Kaji’s katana is sharp and looking for revenge in Wandering Ginza Butterfly and its sequel, She Cat Gambler, a stylish pair of early ’70s action films.