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...horn section accompanying the manifold musicians was comprised of members of Stars, a fellow Canadian band as well as the second of two opening acts that night (the first, California’s Dios, brought a pleasant dual-singer rock sound to the impatient crowd). The horn playing brought a certain vitality to the songs that was sometimes lacking on the album, making the live show all the better...

Author: By Will B. Payne, CONTRIBUTING WRITER | Title: Broken Social Scene Enthral Audience | 4/9/2004 | See Source »

...merciless treatment of the Texans. Vowing to take no prisoners, Santa Anna exclaims at one point that he values the lives of his own soldiers as much as “chickens.” The evil in Santa Anna’s character, contrasted with the more pleasant depiction of the Mexican soldiers, help viewers concentrate their hatred on Santa Anna and less on the Mexican army in general. The director and writers seem to be trying to tone down the traditional xenophobia of this type of story in order to attract the widest possible audience...

Author: NO WRITER ATTRIBUTED | Title: Film Reviews | 4/9/2004 | See Source »

...leadoff track, “Never Believe,” is a riveting opener that belies the monotony that follows. Driving synth opens the album, and quickly gives way to peppy jangling guitar. Only slightly dampened by Andy Rieger’s nasal, expressionless voice, the song is a pleasant chunk of modern folky pop. But after ten more songs of the same, one questions how much of this sound one can take...

Author: NO WRITER ATTRIBUTED | Title: New Music | 4/9/2004 | See Source »

Getting Dunstered, as Matthew R. Lynch ’07 astutely observed, is the very definition of losing the housing lottery. Dunster is nearly as far from civilization as Mather and the Quad, but without the perks (namely pleasant living quarters and whining rights). The inside of the house is reminiscent of a seedy roach motel, and through the barred windows one can only see Mather’s pockmarked carapace...

Author: By Jason L. Lurie, | Title: Getting Quadded Is Not The Worst Thing That Can Happen | 4/5/2004 | See Source »

...This mood of "Foodboy" develops chiefly from Swain's remarkable comix pacing. She uses slam cuts to jump from one time and place to another, in mid-page with no visual cues, keeping you guessing about where and when a scene takes place. It's the kind of pleasant discombobulation you get from a midway hall of mirrors. You feel your way through. Swain also frequently inserts mute sequences that feel like poetic interludes. The narrative breathes. Her "camera" swirls around its subjects while they do nothing more than walk and light a cigarette. Each frame of a Carol Swain...

Author: /time Magazine | Title: Best Served Chilled | 3/29/2004 | See Source »

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