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...play mathcore, a punk-metal hybrid that demands two things of its musicians: world-class time-keeping ability, and the belief that repeating a riff is risking stagnation. Not surprisingly, TDEP are virtuosi whose ability to maneuver odd time signatures at harrowing speeds is nonpareil. However, bands that work within a genre as schizophrenic as mathcore must be more than top-notch musicians. They must also be tasteful—too many blasts of guitar noise, time signature changes, abrupt genre switches, and monotonous shrieks, and the listeners may go running for their parents’ Simon and Garfunkel records...
...shelf.” When the books and magazines themselves aren’t stolen, explicit images are often razor-bladed out of them. But even restricted material is no more difficult to obtain than items stored in the Harvard Depository. Otherwise, it is simply contained within a controlled reading space—the Fine Arts Library Cage, for example...
...controversy has extended beyond the blogosphere—The Washington Post reported on financial irregularities within Yéle Haiti's organization, quoting a former tax counsel to the Senate Finance Committee, who said, "it seems clear that a significant amount of the money that this charity raises go for costs other than providing benefits to Haitians in need...
...nuance, the women of the book come across one-sided. Petra, Adam’s melancholy daughter, spends much of the book defined by her stone-like name; her mother rarely acts unless to pour herself a drink. This may be a reflection of the confined place of women within the Godley household. Women, it seems, didn’t have much place in Adam’s math-filled mind. “One I drove to drown herself, the other I drove to drink,” Adam recalls of his wives. But even as such, Banville?...
...coloratura—and each takes full advantage of the opportunity to have fun. Owens’s sturdy, firmly rooted rendition of the aria “Es gibt ein Reich” (“There is a Kingdom”) bolsters a part of the opera-within-an-opera that can tend to drag (which, to be fair, might simply have been the result of Strauss emulating the less-skilled idiom of a younger composer). It punches the same heights that Gilmore’s “Noch glaub’ ich dem einen ganz mich...