Sounds and Spaces: Grizzly Bear, Veckatimest

Listening to “Fine for Now,” a song that may be about time, conformity, and insecurity, I am inclined to describe the singer’s voice as mellow and expressive, but what does it express? The voice, while unique, does not seem particularly personal: the emotions and ideas suggested could belong to anyone. The jazz-influenced percussion, with each beat (or group of beats) seeming to exist on its own (or their own), rather than the linear, pounding beat prevalent in much of rock music, adds to the sense of flexibility, of a lack of confinement to a particular perspective.

Restorations: Oumou Sangare, Seya

The compositions “Iyo Djeli” and “Mogo Kele” and “Koroko” conclude the collection, and the small tumbling beats in “Mogo Kele” suggest the movements of daily life as much as music and “Koroko” seems both celebratory and deeply authoritative, as if offering advice and correction.

A review of The Garbage Man by Joseph D’Lacey

Kids with matches enjoyed the phenomenon until the authorities stepped in. When we consider what is thrown into landfill sites, legally, illegally and damned strange it is surprising that new forms of life haven’t grown from the neo-primeval soup. That is what happens in The Garbage Man. Not just a horror story but a warning.

A review of Talking Heads by Alan Bennett

Alan Bennett is the master of the monologue, pondering a range of social issues with a deftness that few other playwrights could match. This powerful collection features some of Bennett’s most famous monologues, performed superbly by actors that clearly have a deep understanding of the work. The combination of character development, a great eye for the minutiae of everyday life, and a theatrical sense of the absurd and tragic inherent in that life makes this an excellent piece of work.