Glide Magazine was there to take in the wide array of entertainment, from music, food and wine, to dancing and general shenanigans. And a little tip to those who may be contemplating: start putting in your vacation requests for 2012.
Glide Magazine was there to take in the wide array of entertainment, from music, food and wine, to dancing and general shenanigans. And a little tip to those who may be contemplating: start putting in your vacation requests for 2012
In anticipation of the 2011 Acoustic Tour, Glide Magazine’s Peter Zimmerman had the distinct pleasure of speaking with both Deb and Steve about the tour and their career in general. What resulted was a enjoyable conversation about the daunting task of choosing (and rehearsing) forty songs for the tour, devising varied setlists, their approach to writing, and perhaps most intriguing, what constitutes a typical day in the life of The Weepies.
Civilian is the most concise and compelling example of Wye Oak’s artistry, unafraid to leap into the depths of sorrow, heartbreak and melancholy, but without losing their sense of adventure and humor. It’s certainly one of the finest releases of 2011, and is worthy of the praise through and through.
Even though Marissa Nadler’s most recent offering, the eponymous Marissa Nadler (out on her own imprint Box of Cedars), is her most articulate and sophisticated release yet, it’s exceedingly difficult to define
Paula Cole’s career in pop music has enjoyed its fair share of successes and obstacles; however, what remains in 2011 is an artist fully devoted to her craft, ready to create work that is artistically bold, aesthetically dynamic and inextricably tied to her journey.
Rabbits on the Run is unequivocally Carlton’s best effort yet; a beautiful culmination of years of soaring highs and devastating lows, rolled into an elegant, thoughtful collection of ten songs.
For an evening teeming with humor, reflection and aesthetic exploration, Neko Case and her band kept the audience rapt with their superlative set. It’s further evidence that Case is unequivocally a significant voice in music today, deserving of her success, yet still looking to the future to investigate increasingly the depths of the human heart and mind.
Throughout the entirety of Ben Sollee’s second solo album, Inclusions, there’s a struggle waged between genre, between metaphor and the literal, between engaging and utterly distancing. Over the course of the album’s eleven tracks, Sollee presents music that jumps between traditional pop/folk and atonal structures with the ease and whimsy of a single chord, revealing Inclusions’ central investigation of aesthetic pollination. If anything, it appears that Sollee desires to question the experience of listening to and identifying with music.
Frustrating, then, is Holland’s newest work, Pint of Blood. So much of the raw building blocks are present for this to be a superb record. Holland’s voice is in fine form, gliding between thoughts and words, melisma intact, bending and caressing notes to forge them into wholly new beings and shapes. But these songs feel emptier and more hollow than Holland’s previous work.
