The hardest part about poetry is that so many great poems come from loss. Michael Lee’s poetry is often haunted by a great sense of loss, and his ruminations on memory, death, and recovery are often difficult to process, as they are so loaded with weight. In his first full-length collection The Only Worlds We Know, Lee memorializes those he’s lost in one of the most emotional collections in recent memory. Continue reading →
In Marc Maron’s 2017 special, Too Real, he recounts seeing a Rolling Stones reunion show and all his fears that it would be bad. One of the jokes many twists is that almost immediately after the show started, Maron starts weeping in awe of seeing The Stones live. While I was not as nervous as the WTF host on Monday night, I was certainly on the more reserved end of excitement in Metlife Stadium for The Stones’ No Filter tour, and, like Maron, I was absolutely floored by how great the band are fifty years into their career.
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On his third record under the Slaughter Beach, Dog moniker, Jake Ewald has found a way to be an emotional and interesting storyteller. Safe and Also No Fear is the former Modern Baseball singer’s most consistent effort with the project yet. While the musician still paints very specific sketches of people and places, he isn’t as concerned about stories, as he was on Welcome, or finding a new voice for himself, as he was on Birdie. Safe has the confidence of a band that have finally found their voice and wanted to make a great record that expands on what they’ve built. Continue reading →