Hopkins anchors melancholic but hopeful coming of age picture
Paul (Banks Repeta, l.) has a special bond with his Grandpa Aaron (Anthony Hopkins).
With Armageddon Time, writer/director James Gray (Ad Astra; The Immigrant) has made his Belfast. Gray’s loosely autobiographical film substitutes the dawn of the Reagan era in early 1980’s Queens for the Troubles of 1960’s North Ireland. Like Kenneth Branagh’s protagonist Buddy (Jude Hill), though, Gray’s stand-in Paul (Banks Repeta) similarly faces the confusion and challenges of growing up in a volatile and uncertain time. The result is a film that, while occasionally heavy handed, nevertheless boasts some strong performances and leaves us with a message of hope.
I feel funny using the phrase “heir apparent” when describing a newer artist in relationship with a past act. But, for Yves Tumor, calling them the heir-apparent to David Bowie is totally appropriate. Does Tumor sound exactly like Bowie? Nope. Not much at all. But the darkness, the theatricality, the hooks- all very Bowie-esque. “God Is A Circle,” lyrically, is a dark meditation on the what and why of what our parents teach us. It’s a stunning track, through and through.
“God Is A Circle” is available in all the usual spots. Expect more genius from Yves Tumor in 2023!
Throughout our cumulative years working in many components of the local music industry, the staff of Spinning Platters has been lucky enough to become friendly with quite a few bands, their management, public relations, and even their road crews. In late May, over Memorial Day Weekend, we ventured outside of our Bay Area bubble to the middle of the country (Chicago). We were subsequently offered the opportunity to cover some shows there. Now, once again, Spinning Platters had the chance to travel to Dallas (Don’t Mess With Texas!) and was informed that we would be able to cover the final show of one tour and the first show of another! What started out as simply two photo passes for Lamb of God, Killswitch Engage, Animals as Leaders, Fit for an AutopsyANDMercyful Fate, Kreator, Midnight turned into a whole lot more…
Do you remember the last time Rihanna has graced our earbuds with a solo project? It was 2016. To put it on perspective, Obama was in the White House. Since then, America elected a fucking actual fascist as President, and, somehow, made it so the Republican party could actually say out loud the stuff they mumble quietly. Overt racism, homophobia, xenophobia, transphobia, etc, went from being something pushed aside and shamed to something folks were visibly proud of! And, of course, that awful human ended his time in office by turning COVID into pure chaos instead of working hard to get the country aligned on it. And, yes, we are still picking up the pieces of that nonesense today. (I stand by the fact that if we had clear, concise COVID messaging from the get-go, we wouldn’t be in the current financial mess we are in today)
When I learned that Rihanna was dropping a new single on 10.28, the day after my birthday, it was the first time I felt a shred of optimism in, dear god, 6 years? Like, maybe- just maybe- Rihanna was the key to returning the world to order and kindness. The song itself was written in memory of Chadwick Boseman. The lyrics, however, are actually about finding strength through grief. So maybe, just maybe, Rihanna isn’t the prophet we needed, but the catalyst for building up the strength to get through the pain of now and help encourage and motivate us to fix it. Anyways- “Lift Me Up” is a stunning ballad that I’ve already listened to 10 times and will keep relistening to for the rest of the day, maybe longer. And you probably should, too.
Since Sleater-Kinney released an album of other artists covering Dig Me Out, it only seems right to spotlight this new Quasi single. Janet Weiss sounds like her car accident never happend. Her drumming is as forceful and melodic as ever. Sam Coomes’ keyboard playing is consderably more ferocious that in the past. This song is a gem. It really is a good time to jump back on the Quasi train. Assuming you ever got off.
“Queen Of Ears” is the lead single from Breaking The Balls Of History, due out on SubPop on Febuary 10th. Pre-Everythinging can be done here. Of course, you should also give this 2020 track that I missed a listen, too.
Dig Me Out is a classic record. In many ways, it opened up the worlds of both Riot Grrl and Indie Rock to bigger, more mainstream audiences. It’s also nearly perfect as it is. When it was first announced, Dig Me In left me with mixed feelings… There could be some truly great interpretations of these songs on this record. But why mess with a good thing? I mean, other than to raise money for SMYRC, an organization that provides queer and trans youth a safe place to make art, 25% of the proceeds from this release go to.
Zella Day is a singer songwriter that signed to Hollywood Records when she was merely 17, and has been putting out a steady stream of material since then, enough to be considered a “veteran” at the young age of 27. We had a lovely opportunity to talk about what it’s like to be making decidely non-Disney music on a label owned by Disney, producing music as a teenager. The conversation ran through early tours, navigating the major label system, finding an off-ramp to the major label system, nourishing a community during the pandemic, and so much more. She may be one of the wisest humans I’ve ever had the pleasure of talking to. And, apologies- we both have pets that interrupt some pretty pivotal moments, so bear with that.
Zella Day’s most recent record is called Sunday In Heaven, and is available now from Concord Records in all the usual places, included some lovely vinyl variants!
Aftershock 2022 was a fantastic memory that will be hungered to repeat next year. Allowing over 40,000+ people each day to chill during a sweltering 99 degrees (Fahrenheit) with large mist blowers and delicious (health or comfort) eats choices were plentiful. The stage layouts were designed with both mainstages almost back to back with alternating performances with viewing screens of each other’s performance. Then the 3 smaller stages rotated with incredible talent that are under the mass media radar. As with all great experiences, I will always be missing something; thus, I did miss the first day of all my personal favorite bands. In addition, I am sure I missed out on others on the days I attended. Yet, the ones mentioned were phenomenal, and hope to see comments on your experiences.Continue reading “Show Review: Aftershock Festival 2022”
It’s a downright intimidating new release day. New Carly Rae Jepsen and Taylor Swift and Arctic Monkeys and a-ha (Did you know a-ha are still together?) and Archers Of Loaf (even more surprising?!?) and I’m kinda drowning so much that I almost MISSED giving you a single of the week this week. So here is some blissful, Fleetwood Mac-inspired country from Roanoke. The band, not the city. This song is the perfect antidote to the epic amount of stress that has been burning through the world. “After I Go” is, simply put, pleasant. And, yes, I know it’s uncool to enjoy pleasant things, but sometimes it’s nice to just have something nice.
“After I Go” is the lead single from Wolf Motel, coming to you November 11th on… (checks notes) Kill Rock Stars Nashville? Yes. The legendary Olympia punk label now has a Nashville imprint.
A bad nurse rising: Horrifying true story becomes chilling thriller
ICU night shift nursing colleagues Charlie (Eddie Redmayne) and Amy (Jessica Chastain) become close friends.
Anyone who has ever spent any significant time in a hospital knows how much blind faith patients put in the medical staff. You’re sick or injured and helpless and scared: you not only trust the doctors and nurses caring for you, but you’re beyond grateful to them for helping you get healthy and back to your life. But what if a nurse didn’t have your best interest at heart, but the exact opposite? Suddenly the hospital would no longer be a safe space of healing and comfort, but a house of horrors. Such is the chilling premise of the terrific new film The Good Nurse.
