Single Of The Week: “Moving” by Torrey

Sometimes disparate elements can come together and make something more beautiful than you’d ever expect. “Moving” by Bay Area-based dream-popsters Torrey is equal parts dreamy and loud in all the right ways, making for a perfectly head swimmy 3:39 that will satisfy your need to disconnect from the horrors of reality while still helping you thrive within those horrors. 

Torrey’s self-titled full-length is out March 8th on Slumberland Records. Preordering can be done here. They are also playing the stacked Oakland Weekender at Thee Stork Club, happening June 6th – 8th, alongside twee legends #poundsign#, All Girl Summer Fun Band, Seablite, Kids On A Crime Spree, and many, many more. 

Film Review: “Dune: Part Two”

Dune: Part Two is a majestic and visual masterpiece

When Denis Villeneuve first revealed that his adaptation of Dune was going to be divided into two parts (kept relatively secret for some reason until the first part’s release in 2021), the news was somewhat disappointing. Was the justification for two parts simply another studio cash grab? Would the first part contain enough story to justify its existence? The answer, as you may know, was that Dune: Part One blew away everyone’s expectations, establishing Villeneuve’s vision as unique, monumental, and cinematically astounding. The stakes were high for Dune: Part Two, since Part One was a critical and box office success and even made a push for the Best Picture Oscar (which it lost to CODA, yeesh). Now Dune: Part Two has finally arrived after a long delay due to the WGA strike last year, and it’s a masterpiece. The new film expands upon the original’s narrative scope, delivering nearly three hours of stunning visual storytelling and character arcs, placing it among the best sci-fi epics of the last fifty years, and making it perhaps one of the greatest sequels in cinema history.

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Film Review: “Drive-Away Dolls”

Few clever moments can’t salvage solo Coen brother project 

BFFs Jamie (Margaret Qualley, l.) and Marian (Geraldine Viswanathan) run into some trouble.

Following in his big brother Joel’s footsteps, Ethan Coen steps outside the pair’s successful filmmaking partnership with Drive-Away Dolls, his first solo narrative feature. Unfortunately, Ethan doesn’t do as well as his brother did with his 2021 award-winning The Tragedy of Macbeth. Drive-Away Dolls probably won’t win any awards, but it’s a serviceable, if mostly forgettable, attempt at a retro, low-brow comedy.

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Single of the Week: “4316” by Isobel Campbell

Isobel Campbell’s first release since the passing of her longtime collaborator, Mark Lanegan, is really surprising. It’s an immensely bright and sunny single, and it just feels good to listen to. It might be the single most energetic release of Campbell’s career, and I am ALL IN. This is an exciting release, and I’m eager to hear the rest of this record. 

“4316” is the first single from Bow To Love, coming your way on May 17th. Preorders are happening here! 

Single of the Week: “Kudzu” by Brennan Wedl

OMG! This song is so heavy that I need extra creatine to listen to it. Brennan Wedl, a recent addition to the Kill Rock Stars roster, has brought “Kudzu,” named for the invasive vine that destroys native plants. And this song is so blistering, it’s almost dangerous. Lyrically, it’s a reflection on religion and what it’s like to be raised in something you don’t believe in, which is also infinitely relatable. 

I can’t wait to hear more from Wedl. This track can be found in all the usual places. 

Show Review: Jamila Woods with Madison McFerrin at August Hall, 2/4/24

(Photos by Dakin Hardwick)

I am a new fan of Jamila Woods, having just discovered her through Spinning Platters’ intense and wonderful Album of the Year process, and I’m so glad I did. Jamila Woods is an amazing writer, and her music fills the soul. On the stormiest Sunday California has seen in a long time, I trekked through the almost deserted streets of San Francisco in the hopes that music would take away the wet and soggy feelings I’d had all weekend.  Continue reading “Show Review: Jamila Woods with Madison McFerrin at August Hall, 2/4/24”

SF Sketchfest Review: Bracing The Elements: Avatar The Last Airbender Podcast Live at The Great Star Theater, 1/28/24

There is something about the cartoon series Avatar: The Last Airbender, almost twenty years old now, that was always unusual. Aside from being coined the first American Anime, it was nothing like any other cartoon on Nickelodeon or any other station for that matter. Taking place in a completely fictional world made up of societies and lands corresponding to the four main elements: Earth, Fire, Air, and Water, the story was a continuous adventure full of growth that built to a huge climax at the end of three seasons. But the most startling aspect of this story, for something supposedly targeted at kids, was that it was rampant with extremely adult themes, such as war, genocide, loss, and conflict. But at no point was the plot relegated to hopelessness. There was an idea of balance woven into the fabric of the story’s DNA. Countering all the negative hardships the characters have to live through, there was a cornucopia of warm moments popping up and bursting in the episodes, full of love, hope, friendship, laughter, caring for your fellow person, and fighting for what is right. Continue reading “SF Sketchfest Review: Bracing The Elements: Avatar The Last Airbender Podcast Live at The Great Star Theater, 1/28/24”

SF Sketchfest Review: The Bechdel Cast at Club Fugazi, 2/1/24

I’m not a movie person. I have seen maybe five movies in the last five years. Yes, that included the two years or so of complete pandemic lockdown and not leaving the house. I like The Bechdel Cast because I’m a fan of Jamie Loftus and Caitlin Durante more than movies. But I haven’t spent much time listening to the podcast for that reason. However, with the two of them doing a tour to discuss Barbie, the 2023 monster hit film AND the only movie I’ve seen in theaters this decade, I was glad to have some connection to the movie the two were discussing.  Continue reading “SF Sketchfest Review: The Bechdel Cast at Club Fugazi, 2/1/24”

SF Sketchfest Review: Red Room Orchestra plays The Lost Boys at Great American Music Hall, 1/19/24

It is apparent as we arrive that The Lost Boys is a seminal coming-of-age film to more goths and their familiars than those —ahem — of a certain age. Though not sold out, The Great American is full of stylish vampires of all ages, my partner and myself included. The 1987 Schumacher Peter Pan/Anne Rice mashup maintains a certain cultural currency as evinced by a thirty year reunion back in 2019 featuring the full living cast.
Tonight features a more modest guest list — a fit Alex Winter and a near manic Timmy Capello, second-string vampire and scene-stealing shirtless saxman — the Red Room Orchestra lineup is fire. This is a blessing because when we dust off the Lost Boys Soundtrack CD, we find an abbreviated list of ten tracks representing not a post-punk goth masterpiece but a schizophrenic mash-up of late eighties pop distractions, from INXS regrettably twice-dipping into Aussie pub-rock, to late-career solo forays by Foreigner’s Lou Grahm and the Who’s Roger Daltrey, to the residual 50’s rock n’ roll hangover that plagued that decade. The unauthorized list containing all the film’s tracks is just as bewildering, including the Run DMC/Aerosmith hip-hop crossover, “Walk This Way.” We rightly remember the high points: Echo and the Bunnymen covering “People Are Strange,” Gerard McMann’s standout “Cry Little Sister,” and, of course, Tim Capello’s sweaty and inexplicable cover of Christian rock band The Fall’s “I Still Believe.” Continue reading “SF Sketchfest Review: Red Room Orchestra plays The Lost Boys at Great American Music Hall, 1/19/24”

Film Review: “Suncoast”

Linney anchors solid feature debut

Kristine (Laura Linney, l.) and her daughter Doris (Nico Parker) face the stress of a caring for a relative with a terminal illness.

In the early 2000s, filmmaker Laura Chinn was a teenager living with her mother in Clearwater, Florida. Chinn’s older brother Max, terminally ill with brain cancer, spent the last few days of his life in a hospice center with an internationally famous resident: Terri Schiavo. Schiavo’s right-to-die legal case spanned fifteen years, from 1998 until 2005, when the courts finally allowed her husband to remove her feeding tube. In Chinn’s feature film debut, she turns this grim early experience into Suncoast, a fictional, semi-autobiographical tear-jerker of a movie with a few tonal problems, but also much to recommend it.

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