Word: kinds
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...experience. How are you drawn to something that also at the same time makes you so terrified? I think you have to talk to Dostoevsky or Carl Jung or someone more qualified for that answer. I don't know. Maybe because it's a challenge? Maybe it's some kind of low level search for grace? Why do people do things that they fear? It may be that the fear contains information. Something can be interesting if you get to the other side of that fear. And the first time you make people laugh? Oh, that is fun. That...
...about stopping the run,” the captain says. “I plug some gaps, eat double teams in the middle. It’s part of defense, you take a double team and a linebacker comes through and makes a play...it’s kind of a hard-hat, workman-like mentality of stopping the run first, so I’m definitely trying to add to that...
...their sophomore studio outing. The indelible stamp of My Bloody Valentine can be heard in Jake Duzsik’s vocals. Whereas Kevin Shields and Bilinda Butcher’s heavily dubbed harmonies were central to that band’s sound, Duzsik attempts to recreate that kind of sound individually, singing between tenor and contralto through a rather liberal use of reverb. He successfully generates an effect of androgyny, but the vocals can feel insincere as a result. HEALTH’s originality has always been most evident in the sheer force and power of their sound. Their...
...down anthems, Muse shifts gears. “Undisclosed Desires” is an eminently danceable track with a syncopated Keytar line that will induce waves of envy in electronica/hip-hop artists everywhere. The lyrical theme is lust, not love, and that lust is articulated with a creepy, sickly kind of longing that will send a shiver or two down your spine: “I want to reconcile the demons from your past,” Bellamy croons, “I want to satisfy the undisclosed desires in your heart.” The album’s middle...
...formal movie than she is accustomed to. His prior academic studies of sculpture seem influential in his directorial style; every shot of his is remarkably crafted. His frames are horizontal and narrow; the top of each seems to barely avoid truncating the upper limits of the scene, creating a kind of uncomfortable intimacy for the viewer. The camera shots are still and never shift focus from the characters, allowing the viewer to take in the precise symmetry of the scenes and precluding any sense of detachment. Bricks, fences, and roads often form patterns of strong lines behind the actors...