Churning out tape after tape and dozens of tracks on each for only a few years now, Australian producer your best friend jippy’s newest entry, “BEAT TAPE 34,” is possibly jippy’s wildest, smoothest, and most charming beat collection yet.
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Combining sweet indie folk melodies with even prettier indie pop lyricism, Maya Hawke writes songs as if they were secret Valentine letters that may or may not have endearing contents within.
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Minimalist, awash in choruses of sunsets, Emily Keener’s newest record, “I Do Not Have To Be Good,” is an indie folk paradise. Paradise is a loose term; beneath the surface of its sonics is a lackadaisical rebellion for freedom.
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At the onset of my quarantine, I leeched onto my family’s Netflix account in search of something mindless, but also something I’ve been meaning to see for a long time. And then “Ash vs Evil Dead” appeared in my life.
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Despite the density of most nonfiction literature on wars, “D-Day Girls” reads with tactile smoothness and begins with intense character development of the prominent women focused on in Rose’s research and interviews.
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It’s easy to get caught up in the negative, and music creates the kind of escape I need since I’m forbidden to leave my home.
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“Calypso,” in its montage of quirky essays, is also possibly David Sedaris’ most emotional collection after “Dress Your Family in Corduroy and Denim” (2004).
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A Netflix Original, and a bizarrely different role for Brie, “Horse Girl” works in conjunction with multi-layered metaphors, though most predominantly the mental health/illness of the main character, Sarah (Brie).
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The University of Wisconsin-Superior theatre department spent 14-15 hours per week rehearsing for “Company,” all of which was lost when it was finally showtime.
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With “The Deadbeat Bang of Heartbreak City,” it’s as if Beach Slang just completely re-recorded The Stooges’ “Fun House” (1970) but rearranged the lyrics and threw out all the lasting value of the original.
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“The Rain in Portugal” is a prime example of poetry, that, albeit full of voice and life, is to some degree gasping for air.
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Although the premise of the film alone was what caught me, its bizarrely unique execution reeled me in further.
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Fall 2020 A Superior Return