Word: gone
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...gone to University Health Services in the hopes they’d give me something for my light flu symptoms, or maybe some advice on my spirit-crushing depression. Silly me, I was so disillusioned with life I didn’t even realize I had contracted H1N1 until they told me. I couldn’t express my gratitude at that point though, as they were sealing me into plastic for transport...
Many of the tracks are more blues than they are country. “All Gone, All Gone,” is about as dismal as the title would suggest. It features a duet between Johnson and Texas songsmith Sarah Jaffe over a plodding guitar line that sounds as if it’s plucked from an early Robert Johnson recording. Featuring a singing saw—an instrument whose existence is easy to forget, but whose presence is impossible to ignore—the song feels like a slow drive down a pitch-black southern road in the heart...
...their chosen genre, however, occasionally exhausting their limited supply of musical and thematic tropes. Indicative of the album’s primary shortcoming, “In the Avalon/Little Killer” is a maudlin piano ballad that falls short of the powerful simplicity that “All Gone, All Gone” achieves, and for which it strives. While emotive and marginally moving, the music is fairly boring, never quite leaving the ground. It is chilling, but only slightly so, and while it maintains the unmediated feeling of someone sitting down and heedlessly expressing their emotions over...
...appreciate movies adapted from Dennis Lehane’s novels, like “Mystic River” and “Gone Baby Gone,” for portraying Boston in all of its honest dreariness and stratification. But with big tax breaks and even bigger budgets on the line, it’s in Hollywood’s interest to airbrush away Boston’s flaws. If you consider though that right now, there is a Tom Cruise movie, two Ben Affleck movies, an Adam Sandler film, and a movie about Facebook starring Justin Timberlake all being...
...occasionally comes off like an inarticulate confessional poet. In “The Never-Played Symphonies,” Morrissey sings, “You were one / You meant to be one / And you jumped into my face / And kissed me on the cheek / And then were gone.” This track, indicative of a prevalent flaw on “Swords,” reveals Morrissey scraping the barrel for ideas, at times even settling with utter triteness...