In it’s second year, Day For Night is the festival that Houston deserves. Appropriately held in the abandoned Barbara Jordan Post Office downtown, the building projected the industrial grittiness of Houston, with its precarious lighting and dark swaths of space connected by dank metallic staircases. Occasional wafts of rotten seafood and sewage competed against the omnipresent stank of cheap cannabis as you weaved between a maze of puddles and hordes of dark-clad festival-goers; and yet the atmosphere couldn’t have been more electric.

Even when inclement weather threatened the festival, it just added to the already ominous and excitingly dangerous vibe. Gone were the drunken retro NBA jersey-wearing frat bros of Summer Fest, and in were the cynically dressed pseudo-intellectual hipsters and K-Holed gothic party girls. Yes there were pick-pockets around every corner, it’s almost as if the School of Seven Bells (the thief school not the band) had let out class right under I-45, but at least it didn’t have that same campy cattle-herd festival mentality where you’re stuck in a field all day under the sun.

Some of the most futuristic and thought-provoking artists displayed their interactive art pieces while titans of the music world simultaneously gathered to deliver some of the most powerful and seizure-inducing shows in recent memory. Like Houston itself, the festival was rough around the edges, a bit dirgy, a bit treacherous, but the people and culture within were a goldmine of entertainment and interest.

Omar Afra, Alex Czetwertynski, and Dutch Small, the wizards behind the curtain, put on their own display of artistry in pulling off the best music festival of 2016. Rushing around the grounds, placating fire marshals, mollifying needy media brats, and all the while making the bold decision to keep the festival open while turbulent weather swirled above was an admirable effort. Bringing in forty to fifty thousand people, 75% of which are from outside of Houston, is eye-opening for a festival only in its second year (even if the majority of people were there for the sole reason of seeing Aphex Twin), and so close to Christmas! As a native Houstonian living in Austin, I am admittedly shocked as much as I am proud, that the most cutting-edge and attractive festival in the country now dwells in the Bayou City.

Here are some festival takeaways in lists of five:

5 Best Undercard Acts

Mykki Blanco

Excuse me for not knowing who Mykki Blanco was before Sunday, because this twerking gender-bending rapper is a force of nature. Mykki blew up the Blue Stage as he strutted through the crowd freaking on anything with a pulse.

US

A glittering glam-rock guitarist was melting faces on the Yellow Stage to a relatively small crowd, but for those present, they know that this precocious and charismatic pop experimenter won’t be on the side stage much longer.

Liars

They hadn’t played live in over two years and had released no recent material to speak of, but this avant-garde noise rock trio stole the festival in my humble opinion. Angus Andrew was transcendent in a hypno-rave performance for the ages.

SURVIVE

Moved up from the side stage where they played last year, SURVIVE is having their moment. Building off the momentum of their score to the TV show Stranger Things, the Austin synth veterans seized their moment to capture new fans.

Blood Orange

I had a knowing feeling that a Blood Orange live show could prove a disaster given the idiosyncratic genius of Dev Hynes and his eccentricities but it instead became a resounding success despite some initial audio problems.

5 Let Down Acts

Tobacco

I love Thomas Fec and have been a fan of most of his work, but his live set on Saturday barely resembled his recorded work. Intense clipping on his vocals was annoying and at time times unlistenable.

Butthole Surfers

I was really excited to see these Texas psych legends get loud in front of an open-minded home state crowd but their set’s sound was terrible and the overall energy was just south of flaccid.

Blonde Redhead

Didn’t even bother showing up☹

Clams Casino

Having loved their recordings and remixes, I figured that this could become quite the dance party, but instead it was resoundingly awkward and I quickly migrated to a more magnetic stage.

Bjork

Granted, I wasn’t the biggest Bjork fan to begin with, but I figured with her name plastered all over the festival’s marketing and the hype surrounding her VR experience that I would check out her featured set. The garden-themed stage camouflaged Bjork leaving many wondering if she had even showed up yet, and the screens around her were all turned off which did not seem intentional. I respect Bjork’s dedication to push boundaries in the music medium but her set did not open my eyes to the genius that I seem to be missing.

Top 5 Headliners

Run the Jewels

The consummate show, Run the Jewels is a shot of adrenaline. Killer Mike and El-P are hilarious with their onstage banter and surgical with their rhymes. The pair gave a lot of love to members of Houston’s Skrewed Up Click and destroyed on songs like “Lie,Cheat,Steal” and “Talk to Me”.

Arca

Venezuelan and relentless, Arca was a perfect close to a near-perfect festival. Commanding the room in a bodysuit, Arca mixed dark hip-hop beats with cultural cues and trance-like tropicalia. Provocative to the core, his set incorporated sex, violence, and gore that kept the audience gleefully on edge.

Squarepusher

Incredible sound and brilliant visuals gave Tom Jenkison the production he needed to make a memorable set.  His live instrumentation and digital signal processing gives him a lot of tools to play with onstage.  He had as much fun as the audience by slowing down beats and mixing in reactor patch shots into the visuals.

Travis Scott

It was a bitter cold that Travis Scott walked onstage to on Sunday Night. The hometown rap hero received a raucous welcome that was only rivaled by that of Aphex Twin. Scott launched into “Way Back” and James “The Beard” Harden joined onstage to bring the crowd to a zenith. Scott got heated at one point telling a security guard “I’m gonna smack the f*** outta you” when the guard had accosted a fan that he was trying to hand the microphone too.

Aphex Twin

It’s been eight years since an Aphex Twin show happened in the states, and it was a coup that Day For Night landed him.  Richard D. James didn’t disappoint the legion of dedicated fans gathered, and he pulverized those present with an intricate light show and mishmash of beats and effects that were only accentuated by the rainstorm raging overhead.  Aphex Twin is very much anti-EDM, anti-drop, anti-broculture, and it was awesome to see such a prolific electronic artist reclaim the art of the electronic live shows.

5 Criticisms

VIP Ticket Fiasco

Definitely the most toxic and preventable problem, many VIP ticket holders claimed false advertising on their $700 ticket. The VIP lounges were not always accessible and many amenities listed on the website never materialized.

Thieves

Dozens of phones and wallets were reported stolen or lost and not a single arrest was made. Pickpockets thrived in the dimly lit venue and feasted on masses of distracted festival-goers. The festival will undoubtedly raise awareness next year.

Lines/Disorganized

The Bjork VR experience was a disaster as the line was endless and unmoving. A couple of the bars ran out of drinks and there was minimal info on updated set times.The press lounge, oddly enough, disallowed press at times.

Corporate Creep

This is a bit of a stretch, as you obviously need big money sponsors to be able to put on as large of a production as Day For Night was, but you did see the Heineken stand and other corporate blemishes begin to encroach. For anyone who has experienced Houston “Free Press Summer Fest”, be warned.

Weather

Levitation Fest canceled before a drop hit the ground. Nocturnal Fest canceled as soon as the rain started. Day For Night Fest saw the temperature literally drop 40 degrees before driving rains and wind set in and kept the festival open. Yes, the weather sucked Saturday night and was unbearably cold most of Sunday, but at least they didn’t shut down the festival.

5 Recommendations For Next Year

Recreate the blood rave scene from Blade. Everyone at the festival already looks like vampires so let’s just hook up the sprinkler with some pig’s blood, turn up some goth-electro and get this over with!

Make Febreze a sponsor. Sure, beer and liquor companies love being part of a good time, but anyone walking around the festival could agree that an odor-killer VR would have had twice as long of a line than Bjork’s.

Make Lazer Tag Available. Walking around the dark halls and columns all I could think was “I wish I had a lazer vest on and could run around shooting people like an 8-year old”

Make Pickpocketing more inclusive. This year, many of us felt left out, even, taken advantage of. We didn’t get the memo that the festival was a pickpocket free-for-all. Had we known, we could have been cool dark mysterious thieves too. Issue fake wallets at the door and give a prize to the person who makes off with the most.

Book Nine Inch Nails. It’s going to be hard to beat Aphex Twin, and, let’s be honest, there is a good chance that this festival might have peaked in its second year. Here are some others I recommend: Fuck Buttons, Death Grips, Fat White Family, HEALTH, The Knife (Reunion).

All photos by Jessica Alexander. 

The post Day For Night May Have Been The Best Music Festival of 2016 (FESTIVAL REVIEW/PHOTOS) appeared first on Glide Magazine.

Gurf Morlix has long been a respected figure in the Austin music scene. Beyond that, he is mostly known for his work with Blaze Foley, Lucinda Williams, and as a producer for names like Robert Earl Keen and Ray Wylie Hubbard. Whatever way you cut it, the guy is something of a legend at this point, regardless if you are familiar with his work. That being said, some of Gurf’s best work is as a solo artist. Maybe it’s his experience as a sideman and producer, but the fact is that the guy knows how to find top notch talent when he is recording, and he also writes a damn fine song. On February 3rd, 2017 Gurf Morlix will release his new studio album The Soul & The Heal, which finds him exercising his immense musical talent and also his talent as a lyricist and singer.

Today we are delighted to be offering up an exclusive listen of the leading track off The Soul & The Heal right here on Glide Magazine. The song brings to mind Tom Waits as well as Gurf’s fellow Austinite Jon Dee Graham in its rough-edged vocals, bluesy guitar and organ, and a sort of Wild West horse clop to add an eeriness to the whole deal. Maybe it’s the greasy, menacing slide guitar or the desire to reach even deeper, darker places at a time when it seems like all you can do is dig deeper.

Gurf puts it succinctly: “Holes. We’ve all encountered ‘em, from time to time. They come in lots of sizes. Small ones. Or big ones. Sometimes you fall in, and you need someone to throw down a rope, or a ladder, to help you get out. And then sometimes you’ve dug the hole yourself. You want, or need, to be down there. You might not be ready to get out. Sometimes you just want to keep digging. Take some shelter, in the darkness. Hide in the shadows. Heal.”

LISTEN:

Gurf Morlix will release The Soul & The Heal on February 3, 2017. For more music and info visit gurfmorlix.com.

Photo: Lynne Hawrelko

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Given the cinematic nature of today’s video games, it feels unlikely that Hollywood has yet to hit upon the proper way to translate them to screen. These days, all one would really need to do is follow the beats of the game they’re adapting and the genre should sort itself out. And yet, even with the readymade stories just waiting in the wings, Hollywood continues to struggle, churning out one piece of shit after the other and ensuring that the stink infects the very idea of the genre.

Were I a conspiracy-minded man, I’d surely think this is intentional. As video games have grown in popularity, Hollywood has seen interest decline. Every year, it seems, we see end-of-year think pieces about the sorry economic state of the movie industry, and much is made about the increase in competition for asses in seats, with gaming often pointed to as a culprit. That makes sense, in a way—with ticket prices and concessions soaring, it makes less and less sense to spend $30 for a two-hour night out when you can spend $50 to get 100 hours or more of entertainment. Could it be that a bitter Hollywood intentionally makes bombs as a backhanded fuck you to the gaming industry?

Well, no. Given the money they continue to drop on their attempts, there are certainly cheaper and easier ways to tell the gaming industry to go fuck themselves. Rather, it seems more indicative of a clash of narrative form—it’s difficult to pare down those 100 hours into a satisfying two-hour format, and the results are typically uneven. Still, it’s hard to get over the idea that all it would take is a single movie to revitalize the genre or, at the very least, prove it can be done. Assassin’s Creed is very nearly that movie.

Admittedly, the bar for video game movies is so low that one needs only to step over it to surpass. When I say that Assassin’s Creed meets the bar, I’m not exactly saying much. Still, when a simple step would’ve done, Assassin’s Creed gives a solid hop which, in context, is sort of the very definition of “above and beyond.” It’s not without its problems but I’d be lying to you—and to myself—if I didn’t concede that nothing here is half-assed. No, it’s whole-assed all the way.

Like the game series that inspired it, Assassin’s Creed follows a convicted murderer, Cal (Michael Fassbender), who is sentenced to death. After his sentence is carried out, he’s shocked to discover he has not, in fact, died. Rather, he’s been taken to a distant facility where a doctor, Sofia (Marion Cotillard) explains that he is needed for a great cause. Cal, it seems, is the descendent of an assassin, who was one of a group of assassins, knowing collectively as The Assassins, who once did battle with the Templars over the fate of mankind. The Assassins, it seems, are guardians of an ancient secret, the Apple of Eden, which holds the key to controlling mankind’s free will, which is desperately sought after by the Templars even to this day. Sofia and her father (Jeremy Irons) have a device, the Animus, which allows currently living people to experience the memories of their ancestors, which they intend to use on Cal to gain insight into Aguilar (also Fassbender) in order to locate the artifact.

Convoluted? Yeah. The movie shoves about three games worth of exposition into a single movie, overloading the uninitiated with information and confusing the entire story. Of course, this was also a problem with the game series. Though stretched over several games, the story of the Animus was always kind of, well, dumb. As a device, it was distracting from the ultimate fun of the game—playing an assassin at various points in history. As much as it was cool to connect the conspiracy to the present day, it was overall a clunky, pointless detraction. And so it is, here.

In this case, however, that might be good for fans of the game. I have to wonder whether it’s telling that the same narrative problems I had, personally, with the game were the same problems I had with the movie. Fans of the game—and there are many—will probably be pleased with the faithful execution of storyline to the big screen. Outsiders, however, will probably be confused. Narratively, it’s hard to get on board if you’re not already, and it’s hard to justify the framework as it exists.

That being said, everything about Assassin’s Creed is impressive. Director Justin Kurzel (Macbeth) brings his singular eye and style to the film with remarkable effect. The look and feel of Assassin’s Creed is about as close to cinematic poetry as one can get. At all points, the screen is alive and cinematographer Adam Arkapaw penchant for muted pallets and motion brings the same beautiful look here as he also brought to Macbeth.

Stylistically, it’s difficult not to draw comparisons to last year’s adaptation of the Bard’s famous story. Between the writer, director, cinematographer, and stars, you’re dealing with the same core group of people. In a sense, Assassin’s Creed can almost be called a thematic sequel to Macbeth, with one building off of the scope of the other to create a sort of cinematic manifesto.

In that sense, it’s worth seeing, even if you aren’t a fan. The scope of Assassin’s Creed is breathtaking, with stunning shots and sweeping bird’s eyes that captivate and enthrall. For fans of the games, it’s probably must see, with tiny nods and Easter eggs planted throughout the film which pay homage to the source material. Even the scenes involving the Animus directly are largely more interesting than they ever were in the games.

Overall, Assassin’s Creed is a monumental leap forward to the legitimization of video game movies. It’s a lot to digest in a two-hour timeframe, and the narrative kinks have yet to be worked out of the adaptation process, but the bar has now been raised significantly. In a decade or so, if the bar keeps being pushed to new heights, we’ll probably look back and reflect upon Assassin’s Creed genius. It’s difficult to know whether that will translate into the success today, but a new standard has definitely been set.

Assassin’s Creed is now playing in theaters everywhere.

The post ‘Assassin’s Creed’ Nearly Soars (FILM REVIEW) appeared first on Glide Magazine.

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There’s a moment near the midpoint of La La Land where John Legend, as the leader of a neo-jazz combo who recruits the piano playing Ryan Gosling, opines that jazz cannot evolve so long as purists like Gosling’s Sebastian are unwilling to allow it. It’s difficult not to see this statement, intended as a turning point for the film’s plot, to serve as a sort of meta-thesis on La La Land, and the musical genre as a whole.

Up to this point in the film, La La Land is structured as a traditional, golden age musical. Full of big numbers, stunning visuals, and captivating romance, the first half of the film sweeps you into its loving arms and dumps you straight into a world of such awe and wonder that you’ll wish that life itself was a musical. However, with Legend’s declaration regarding the necessity of evolution, the film takes a turn for the worse. It’s still a musical, but it’s a musical of a different sort, one not nearly as charming or entertaining as the one that preceded this moment.

This is writer/director Damien Chazelle’s third feature film, following 2014’s powerful Whiplash and 2009’s forgotten Guy and Madeline on a Park Bench, and the third of which is centered around the world of jazz. It’s a subject on which Chazelle is clearly passionate, as his films tend to veer into impassioned screeds about the nature of what jazz is and means. That’s all well and good, but La La Land is a film that’s at its best when it’s a film about a jazz musician rather than a film about jazz.

It feels odd to say as, traditionally, I have never been a fan of musicals (despite the best attempts of loved ones and theatre friends to sway me) but La La Land drew me in with such force that I had little time to raise my defenses. The opening number, “Another Day in the Sun” is an immediate tone setter (or so it seems) that recalls the bombastic glory of Hollywood’s Golden Age. Set amidst the backdrop of an LA traffic jam, it’s an unforgettable opening salvo that easily softens hardened hearts such as my own.

It’s a lovely way to start a film, Chazelle’s love letter to Los Angeles. Full of magic and artistry, it’s an awe-inspiring cinematic moment that will rightly go down in history. This continues as we meet our characters, Emma Stone’s Mia—a struggling actress who makes ends meet by working as a barista on a studio lot—and Gosling’s Sebastian—a piano playing jazz musician who struggles to find a purity in a world that increasingly respects only flash.

The first half of La La Land veers back and forth between their perspectives as fate slowly winds them together (leading towards a lovely Astair/Rogers inspired number that oozes with charm and romance). As their relationship grows, so too does the film’s magic but the magic here is parabolic, peaking near the aforementioned scene with Legend and dropping considerably after this moment.

From here La La Land abandons any attempt to recall the Golden Age, becoming an outlet for Chazelle’s musings on “what jazz is all about, man” as the film moves on. It’s difficult for me to rectify how both halves of the film play out, and how each balances the other. In a way, it almost feels as though two films—or, more precisely, two premises for the same film—were meshed together while the best was wished for.

Though the musical theme continues into the second half of La La Land, it’s more a series of scenes and montages set to an admittedly rousing jazz score from Justin Hurwitz than it is a musical in the traditional sense. It was difficult, then, not to feel the bitter pangs of the ol’ bait and switch as the remainder of the film unfolded. So jarring was the switch, that I spent much of the latter half of the movie wondering where the film I’d been watching had gone to.

Which isn’t to say the last half is bad, per se. The story is completed to a satisfying end with all themes and plots wrapped up nicely. But I missed that awe, that feeling of finally understanding what so many friends and so many ex-girlfriends had been trying to show me for all these years. That was a disappointment.

Even accounting for the disappointment, however, La La Land is still a fine a movie, even if it only plateaus instead of reaching the peaks it hinted towards. Stone and Gosling have a remarkable, classic chemistry that that warms and breaks your heart in alternating sweeps. Any nominations they receive are more than well deserved, and their depiction of the ups and downs of romance are as real as anything that has ever been committed to film. So, too, with Chazelle’s direction. La La Land is a sweeping, fantasy laced narrative full of moments both big and small, and Chazelle has really started to come into his own as a director.

I did like La La Land. However, it’s difficult for me to get over how very close I got to loving La La Land. The abrupt change in format was too jarring to overcome and felt like an inability to fulfill the promises made in act one. There’s a philosophical critical question this raises about the promises made by a film and whether or not they owe it to the audience to keep them. That’s a worthy discussion to have, and frankly I’m not sure I know where I land on that. In this case though, it was a disappointment. Certainly not the greatest cinematic disappointment I’ve ever experienced, but a let down nonetheless.

La La Land is now playing in limited release. It opens everwhere on Christmas Day.

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John Craigie hosted a one-off CD release show at Portland, Oregon’s Doug Fir Lounge on December 15^th. Portlanders braved icy roads to celebrate the singer/songwriter with a sold-out performance, and to get their hands on a copy of the new album, No Rain, No Rose.

In addition to the rapt crowd, Craigie also had support on the stage. After singing the first song, “Silver Lining,” solo, he brought out some special guests. No less than eleven friends and colleagues took the stage surrounding him, and they rotated in and out all evening.

Even with all of the firepower on stage, Craigie took the time to tell a few stories, which, if you’ve never seen him, can be as entertaining as his sometimes poignant, sometimes funny, always heartwarming catalog of songs.

In all, it was a great night with unique on-stage collaborations, serving as another feather in the cap of an up-and-coming Americana folk singer/songwriter/storyteller.

Guests: Brad Parsons, Bart Budwig, Bevin Foley (Trout Steak Revival), John Nuhn, Justin Landis, Jay Cobb Anderson (Fruition), Tyler Thompson (Fruition), Kat Fountain, Laurie and Katelyn Shook (Shook Twins), Niko Daoussis (Shook Twins)

Setlist: Silver Lining (solo), The Shape I’m In, Broken, Highway Blood, Michael Collins, Savannah, Leviticus (solo), Rough Johns, Tumbling Dice, Bucket List Grandmas, Pictures On My Phone (solo), Light Has Dimmed, I Am California, Banjo Renews

Encore: Naïve Melody

The post John Craigie Hosts All-Star Album Release Show In Portland (SHOW REVIEW/PHOTOS) appeared first on Glide Magazine.

Plenty of people go to see bands when they come through their town, but most people don’t think about everything that it takes to get those bands to their favorite club. Being on tour for a musician is both enlightening and daunting, as physically and mentally draining as it is stimulating. And no matter what, there are always stories to tell. In Tales From The Golden Road we let musicians tell their own stories of life on the road to get a behind-the-scenes, up-close look at what really goes down between each show. 

This month Glide Magazine is excited to share dispatches from Brooklyn rockers Spirit Animal as they squeeze in one last tour before the year comes to a close. The band’s sound is anthemic and poppy, clearly suited for large stages and festivals. Spirit Animal recently released a new EP called World War IV and you can bet they are bringing the album’s soaring rock sound on this tour. In between shows, the band will take us behind the scenes. Rock on!

Homeward bound

We awoke from our black ice nightmare to a crisp drive to Davenport, Iowa where we would record a Daytrotter session. Our generation birthed the music blog explosion and Daytrotter was one of the most important sites, so this was a pretty special experience. The studio and staff were great. We tracked four tunes and headed to a surprisingly bomb Thai spot for a liquid and lemongrass lunch.

We cruised to South Bend, Indiana that night and posted up at a suburban chain called Bar Louie. The bourbon pours were mall-sized and the spinach dip was cheesier than a Kevin James comedy. Can’t complain.

The Cleveland show the next night was in a rad old place called Beachland Tavern. The jukebox had 7″ vinyl and the house meal of fried chicken thighs was home-cooked as fuck. Both joints we’ve played in Cleveland feel like last bastions of the American ’50s. Oxblood leather. Wood paneling. Everything looks like the inside of an old Jeep Cherokee. They didn’t start making those until 1974, but you know what we’re saying. Details are unAmerican anyhow.

By the time we got back to Brooklyn for the homecoming show, the merch box was lighter than our clean sock supply. It was good to see friendly faces, and sad to say farewell to our tour buds from Nico Yaryan. Nobody yelled “Free bird!” but everyone got high.

Check out Part I and Part II! 

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The Struts performed at the TLA in Philadelphia for a sold out show on Friday 12/16. Whether it’s opening for the likes of The Rolling Stones or Motley Crue, playing festivals or headlining their own shows, they have garnered fans of all ages along the way. The band’s high energy set was highlighted by the showmanship of singer Luke Spiller. Photos by Cathy Poulton

The post The Struts Deliver Retro Glam Flavors at Philadelphia’s TLA (PHOTOS) appeared first on Glide Magazine.

Canadian outfit Blackie and the Rodeo Kings have never been short on giving us real-deal lyricism and prime licks. The trio of Colin Linden, Stephen Fearing and Tom Wilson have, after all, managed to conjure up some of the truest Americana in their twenty-year history. There are many things we should all be afraid of in the coming year (*cough* Trump *cough*) but if there is one thing we can look forward to it’s a new album from these tried and true troubadours. Blackie and the Rodeo Kings release Kings And Kings on January 13, 2017 via File Under: Music/MVD. The companion to their 2011 collaborative album Kings And Queens, the album features guest appearances by Eric Church, Bruce Cockburn, Rodney Crowell, City and Colour, Vince Gill, Jason Isbell, Nick Lowe, Raul Malo, Buddy Miller, Keb Mo, Fantastic Negrito and The Men of the TV show ‘Nashville.’

Today Glide Magazine is presenting an exclusive first listen of “Bitter and Low”. The song brings to mind a smokey-voiced Chris Isaak with its haunting lyrics, brought to life by subtle yet powerful touches of organ and slide guitar. The band enlisted the help of an unlikely collaborator on the tune with Fantastic Negrito, who lends his soulful, blues-inflected vocals as a counterpart to singer Colin Linden. The resulting harmonies are surprisingly poignant and moving.

Blackie leader Colin Linden has this to say:

“Fantastic Negrito is the not only the future of the blues, but he is a shining light for all of music. A true beacon of soul and truth. I am so honored to have him on our record, and to have played on his.”

LISTEN:

Blackie and The Rodeo Kings release Kings And Kings on January 13, 2017 via File Under: Music/MVD. For more music and info visit blackieandtherodeokings.com.

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Melbourne’s King Gizzard and the Lizard Wizard has released “Nuclear Fusion”, the second track to be revealed from their upcoming album Flying Microtonal Banana.

The band’s first LP of 2017, Flying Microtonal Banana will be released on February 24th. The Melbourne-based band plans to release five studio albums in 2017, an ambitious feat as each record will be its own unique sonic adventure.

Head below for all upcoming US 2017 tour dates.

TOUR DATES

3/29 – Washington DC - 9:30 Club

3/30 – Philadelphia, PA – Trocadero Theatre

3/31 – New York, NY – Webster Hall

4/2 – Boston, MA – Royale

4/3 – Portland, ME – Port City Music Hall

4/4 – Montreal, Canada – Fairmount Theatre

4/5 – Toronto, Canada – Danforth Theatre

4/6 – Detroit, MI – Magic Stick

4/7 – Cleveland, OH – Beachland Ballroom

4/8 – Chicago, IL – Metro

4/9 – Seattle, WA – Neumos

4/10 – Vancouver, BC – Vogue Theatre

4/11 – Portland, OR – Revolution Hall

4/12 – San Francisco, CA – The Fillmor

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The ever changing super group Kings of Chaos visited Boston on 12/20 for a show at the House of Blues. This rock centric lineup featured Billy Gibbons of ZZ Top, Robin Zander of Cheap Trick and Chester Bennington of Linkin Park on vocals. Billy Duffy of The Cult and Steve Stevens were the lead guitarists as Robert DeLeo of Stone Temple Pilots was the bassist and drummer Matt Sorum was on drums. Photos by Marc Lacatell.

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If there is a theme linking most of these picks, it’s that they offer us something we probably have not heard before. Or, in the case of acts like The Beach Boys and Otis Redding, they provide die-hards a treasure trove of previously unheard renditions. Obviously, the material in reissues has already been recorded, which means that they definitely belong in a separate category than albums recorded in the present. Regardless, there is no question that the painstaking work put in by record labels into unearthing the material, remastering, and packaging it deserves recognition. Here at Glide, we think that reissues often get swept under the rug when it comes to end of the year ”best of” lists, which is why we have once again decided to put together a list of notable reissues from the past year. By no means have we scratched the surface, and we realize that there are tons we have left out, but based on the work done to release each of these and the quality overall, we think each of these fifteen are worthy additions to any music lover’s collection.

NRBQ – High Noon – A 50-Year Retrospective (Omnivore Recordings)

When considering the great underrated bands of all time, NRBQ easily ranks near the top. Since 1966 this rotating cast of merrymakers have been choo-chooing along with their own style of rock and roll. In that time the band has released numerous studio LPs, live recordings, and compilations. Even though the lineup of NRBQ today is almost totally different than the founding lineup, the band is still going strong. In honor of the band’s fifty-year anniversary, the folks at Omnivore Recordings have just released the five-disc box set High Noon.  It would be hard to thoroughly capture five decades in any one box set, but for die-hards and first-timers alike, High Noon is a perfect encapsulation of the magic that is NRBQ and is therefore a must-own.

Egyptian Lover – Egyptian Lover 1983 to 1988 (Stones Throw)

There are loads of artists both in the realm of hip-hop and dance music who have cited the influence of Egypt’s music in their own work, or have simply acknowledged him as a pioneer. One of his biggest fans is Chris Manak, better known as Peanut Butter Wolf, the producer and DJ behind venerable hip-hop label Stones Throw Records. It was Wolf who worked with Egyptian Lover to compile the recently released anthology Egyptian Lover 1983 to 1988, which celebrates the West Coast electro hip-hop pioneer’s early catalog. The anthology features 22 classic and unreleased recordings that were all taken from the original master tapes, and it captures a period that was especially fruitful for Egypt. While all of these songs have what we would now probably see as an “old school sound”, even all these years later they still make a perfect party soundtrack.

Professor Longhair - Live at the University of Chicago Folk Festival – February 1, 1976 (Orleans Records)

By the mid-1970′s Henry Roeland “Roy” Byrd aka Professor Longhair was in the midst of a career resurgence. Well, maybe resurgence isn’t the best word for a musician who, despite being a piano legend in his hometown of New Orleans, had spent his life evading or simply missing any chance at success. Nonetheless, by the year of 1976 “Fess” as he was affectionately known by his friends and fans, was enjoying a nice run of gigs around the U.S. and Europe. Just a couple months after his 57th birthday, Fess found himself onstage at the Chicago Folk Festival. He had yet to record what would be considered his first U.S. LP, Crawfish Fiesta, which was recorded in 1979 and would be released posthumously after his death at the age of 61 in 1980. Though the appearance in the Windy City on February 1, 1976 was originally broadcast by WFMT-FM Chicago, it had remained unreleased and in the hands of Fess’ lead guitarist Billy Gregory for 25 years before he gave it to New Orleans native, musician, and founder of Orleans Records Carlo Ditta. The performance in Chicago was recorded almost exactly four years before Fess died, but it captures him and his band during an impressive period, and every member of the band is absolutely on fire throughout a set that features some of his best known tunes.

Wayfaring Strangers – Cosmic American Music (Numero Group)

The music on Wayfaring Strangers speaks for itself, but the set is worth owning if you want to learn the backstory behind these Cosmic Country bands. Long before the term “indie rock” was ever uttered, most of these bands were taking a DIY approach to getting their music to the people. Considering that you probably haven’t heard of any of the bands, those approaches – ranging from selling albums at shows to peddling them to strangers while hitchhiking – usually didn’t lead to mainstream success. Luckily for us, Numero has shined a light on the underdogs behind Gram Parsons’ dream of Cosmic American Music. The modern popularity of Americana and alt-country owes everything to Cosmic American Music, and Wayfaring Strangers is a refreshing reminder that’s as informative as it is enlightening. These are bands that deserve a second life, and after hearing the gems featured in the set, you will probably want to go and hunt down the full albums of each act.

The Staple Singers – Faith & Grace: A Family Journey 1953 – 1976 (Stax)

Faith and Grace is an essential collection of songs from one of America’s most vital musical groups. It also raises the question of whether there will ever be another act capable of using music as such a powerful instrument of change. Is it even possible to have such a clear purpose in a time when we all face a deluge of information coming at us from every angle? Luckily, this box set is proof that, even in 2016, the message and power of the Staple Singers is not only loud and clear, but may be more relevant than ever.

Bob Dylan – The Real Royal Albert Hall 1966 Concert (Sony Legacy) 

The Real Royal Albert Hall 1966 Concert is not an entry in The Bootleg Series of  Bob Dylan’s, but it achieves the same effect as the most significant releases in that archive project. That is, it definitively clarifies one of the pivotal points in the 2016 Nobel Laureate’s long career. This two-CD set is actually a cull from a massive box of thirty-six discs released in the fall of 2016, capturing every known recording of Dylan’s fifty-year old concerts with the Hawks, nee the Band, during a tour of the world. As one of the most famous bootlegs of our time, The Royal Albert Hall Concert was actually taped in Manchester England’s Free Trade Hall, formally released in 1998 as The Bootleg Series  Vol. 4. Dylan’s quick but gracious ‘Thank you’ at the end of the show suggests the pleasure he took in playing with the group, not to mention the obvious relish he savored in offering fresh material  from the just-released Blonde on Blonde. In fact, it’s the exultant abandon he shares with these kindred spirits of his on stage that make The Real Royal Albert Hall 1966 Concert worth owning, even apart from its historical significance.

Queen – Queen On Air: The Complete BBC Recordings (Virgin EMI/Hollywood Records)

 Queen has been issuing an array music and video from their vaults in spades over the past few years, including Live at the Rainbow ’74 (CD/DVD/Blu Ray), A Night at the Odeon(CD), Forever (a double CD of singles that feature a couple of the long sought after recordings of Mercury with Michael Jackson), and most recently a treasure trove of recordings from the BBC. This sensational six CD box set that includes 24 incredible studio recordings, 24 live tracks from three different concerts and over three hours of interviews with all four members of the band. The tracks, re-recorded solely for the BBC broadcasts, are selections from the band’s following albums: Queen (’73), Queen II (’74), Sheer Heart Attack (’74) and News of the World (’77). After a recent rash of impressive releases from Queen, none can top this collection. On Air culminates a most eclectic combination of studio recordings, live concert recordings and interviews that, once again, demonstrate how and why Queen became one the greatest bands in rock and roll history. This royal package should not be overlooked!

Bobo Yéyé: Belle Époque in Upper Volta (Numero Group)

Much has been written about the rich musical culture of West Africa. However, with a certain emphasis on countries like Mali and Ghana, we rarely hear about the land-locked country of Burkina Faso, which isn’t to say they haven’t made their own contributions to the sounds of the region. Lucky for us, the folks at Chicago label Numero Group have once again unearthed a treasure trove of previously forgotten music originating from the tiny country during a particularly inspired period in the 60’s and 70’s. The bands represented in Bobo Yéyé: Belle Époque in Upper Volta somehow managed to absorb a globetrotting mélange of musical influences, no easy feat at a time when communication across the world was complicated, especially in war-torn Western Africa, making this collection a remarkable artifact. The acts featured in this 3-LP set and book tapped into a range of genres such as salsa, jazz, rock and roll, tribal African, Malian, and good old rock and roll, showing through it all that hard times would not be a deterrent from enjoying life. There are moments of transcendent greatness throughout.

The Allman Brothers Band  – Idlewild South (Universal Music Group)

The two CD ‘Deluxe Edition’ of the Allman Brothers Band’s Idlewild South achieves what so very few such archive titles accomplish: placing the original work in a context that illuminates the artist’s evolution. Arguably the finest studio recordings this iconic Southern band ever completed are further  refined  in this package by remastering that also benefits the concert that’s appended to them, Live at Ludlow Garage. Finishing touches on this deluxe (named after a bucolic Southern retreat rented by the Brothers in their early days) include period photos and detailed credits, the sum of which  more than makes up for the slightly kitschy color scheme of the booklet and the somewhat bland overall graphics  that prevent this package from looking and sounding like a true collectors item. But then the Allman Brothers Band never traded much in cosmetic appearances, so this double disc set, on its own terms, constitutes an ever-so-accurate accurate representation of a band passing through a creative crossroads and, as such, is  essential entry into their discography.

My Morning Jacket – It Still Moves (ATO Records)

It might be unreasonable to expect the expanded reissue of My Morning Jacket’s It Still Moves to represent the same quantum leap in archiving as the original 2003 studio production did within the band’s discography. But even though titular leader Jim James professed publicly he sought improvements by overseeing the remixing & remastering of the original dozen tracks, adding content and reconfiguring alternative artwork and graphics, in releasing this two CD deluxe package, he and the band implicitly acknowledges their third album as a high point of their career. Yet some in-process recordings with the rest of the quintet or early live renditions of this same material might’ve shed even more light on the MMJ creative process; as it stands, given the roughly hour-long playing times of each CD, such content might well have been presented. And if that had been the case, this deluxe edition of It Still Moves would stand as a pinnacle of accomplishment, comparable to its counterpart, on its own terms.

Them - The Complete Them 1964-1967 (Sony Legacy)

If Van Morrison’s career had never progressed past his years with Them, he might still deserve his own chapter in the history of contemporary rock and roll. And that’s because his galvanizing presence transcends the familiar trademarks of mid-Sixties stylists: a knowledge and reverence for blues roots and, at his/Them’s best, an intuitive grasp of the power of brevity intrinsic to the great pop song. The inclusion of Van Morrison’s own essay within The Complete Them 1964-1967, during which he shares vivid recollections from these early days, represents tangible proof of his commitment to the extensive archiving of his vast catalog, of which project this handsomely-designed three CD set is the first release.

RUSH - 2112 – 40th (Mercury)

Following the dismal reaction to Rush’s third album, Caress of Steel, Rush bet their careers on the ambitious follow-up 2112 with its epic seven-part title suite. 2112 would hit all the marks and then some. Dubbed 2112 – 40th, this reissue was released in a variety of formats including a 2CD/DVD edition featuring a newly remastered version of the album with the second disc housing live outtakes and the 2112 covers from Dave Grohl, Taylor Hawkins and Nick Raskulinecz (“Overture”), Alice in Chains (“Tears”), Billy Talent (“A Passage to Bangkok”) and more. The DVD captures Rush’s 1976 performance at the Capitol Theatre as well as a video for Grohl/Hawkins/Raskulinecz’s “Overture” and a retrospective look at the album 2112 – 40 Years Later, featuring a Q&A with Rush’s Alex Lifeson. While the holy triumvirate has called it a career from the stage, 2112 still lives on in new forms.

The Beach Boys - Pet Sounds (50th Anniversary Deluxe Edition) (Capitol)

Ask anyone what their favorite Beach Boys album is and you can bet on two words – Pet Sounds. While Brian Wilson has been on the road over the past year playing Pet Sounds in its entirety under his own name, The Beach Boys’ Pet Sounds (courtesy of the brilliant mind of Wilson) was released as a 50th anniversary edition of the classic LP. This expanded collection that presents the remastered album in both stereo and mono forms alongside studio sessions outtakes, alternate mixes and unreleased live recordings from the era. Available in a variety of formats, include a 4-CD/1-Blu-ray “collectors edition” that comes in a hardbound book, one can relive the studio mastery as Wilson directs in the studio along with ringer musicianship of “The Wrecking Crew.” Check out the fourth CD which features a capella versions of the songs on the album, creating a mesmerizing trip to the root of the sound.

Big Star - Complete Third (Omnivore Recordings)

#1 Record and Radio City are undoubtedly fixtures in any rock fans vocabularies but the lesser known and harder to find Third finds Big Star equally as a fantastic collection featuring 69 tracks, 29 unheard recordings plus demos, rough mixes, vocal guides is a treasure trove for a band that only released a limited amount for the ears anyhow. While the band was in turbulent times during the recording, the pending release was a challenge enough, let alone the supreme results. Featuring essays from s R.E.M.’s Mike Mills, Wilco’s John Stirratt and Pat Sansone, the Jayhawks’ Gary Louris – the plusses are many. Check out Volume One of the reissue which includes Chilton’s demos alongside vocals and rough mixes. Volume Two: Roughs to Mixes highlights producers Jim Dickinson and John Fry’s early mixes for the Third tracks – for some more complete listening of this last 70’s statement from the champions of power pop.

Otis Redding - Live At The Whisky A Go Go: The Complete Recordings (Stax)

There’s much to be debated about what exactly is the greatest modern soul live album ever made, but Otis Redding’s Live at the Whiskey A Go Go:The Complete Recordings gives James Brown’s Live at the Apollo a run for its power. The seven sets, recorded Friday, April 8th – Sunday, April 10th, 1966, feature the singer’s popular songs of the time, including “Respect,” “I’ve Been Loving You Too Long” and his cover of The Rolling Stones’ “(I Can’t Get No) Satisfaction.” Redding’s ten piece band was on fire over the course of these recordings as the 24 year old frontman was making for some soulful mayhem. But its the in between song banter by Redding that gives us the listener a more revealing and truthful listening experience of just what exactly an Otis Redding performance felt and sounded like.

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Mixing no words, you will find no movie with better performances this year—or most years, in fact—than you’ll find in Fences. From its opening lines to its closing shots, Fences enraptures the audience with quick fire dialogue that comes as natural as a heartbeat.

It helps, of course, that the late, great August Wilson was a phenomenal playwright, brilliant at channeling the angst, hopes, and fears of a generation into cutting phrases that build into a jackhammer, stripping away pre-conceptions and notions to reveal hidden truths and realities, some of which we might prefer not to face.

Over the course of his career—life, really—Wilson challenged audiences to face the lasting legacy of racism and race relations in America. In his ten-play magnum opus, The Pittsburgh Cycle, of which Fences is a part, Wilson explored a century of African-American lives and the black experience in America. Set one-per-decade, Wilson blew the door on black lives wide open, crafting genius literary works that today stand as a testament to both the realities of the African-American experience and the universality of the human experience.

Fences is the 1950s chapter of the larger work, though you need no reference point to appreciate it. It, like the rest of his work, stands alone. Here, we follow the Maxson Family—Troy (Denzel Washington), Rose (Viola Davis), and son Cory (Jovan Adepo)—in their black working class Pittsburgh neighborhood. A sanitation worker, Troy struggles with his own sense of self and responsibilities to his family as they struggle to make it in the face of all the obstacles working against.

Washington and Davis reprise their roles from a 2010 Broadway revival of the play, which certainly adds to the intensity of their performances. On screen, the two share scenes in the same way as two accomplished musicians might share songs—rhythms and solos are traded off with a breathless ease as each alternately takes the reins and guides the melody. And like all great musicians, the two are backed up by a powerful band who serves to highlight the strengths and fill in the gaps.

Russell Hornsby (Grimm) is a particular highlight as Troy’s son from a former relationship, Lyons. Together, Washington and Hornsby play songs of strife; Mykelti Williamson, as Troy’s disabled brother Gabe, helps Washington play songs of regret and remorse.

But really, it’s the duo of Washington and Davis, and the occasional accompaniment of Adepo, that plays hardest and loudest. Theirs is a song of love, of laugh, of hope, of heartbreak, played with notes that shatter glass with their intensity. It’s stunning to watch, and to lose one’s self in their awe-inspiring, powerful portrayals.

Washington serves double duty here as director, guiding the cast through their beats to craft a film that’s utterly, devastatingly human. While cinematically the film can be criticized as lacking—for the most part, it feels as merely a filming of a play on real life sets instead of a stage—his light stylistic touch truly allows both Wilson’s words and the performances of himself and his actors to carry Fences to the stunning heights it eventually reaches.

The result is a film that’s as powerful as its portrayals are magnificent. Fences is the must-see film of the holiday season.

Fences is now playing in theaters everywhere.

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With the holidays upon us, it’s safe to assume that your schedule is littered with family gatherings, gift exchanges, and year-end office parties. But, if you’re lucky, you’ll get quite a bit of downtime between now and the new year, so what better way to celebrate the upcoming slowdown in your schedule than checking out what the ever-expanding world of streaming entertainment has to offer.

To make things easier, here’s a breakdown of some stuff to lookout for while you kick back and enjoy the merriment of the holiday season.

SundanceTV

Formerly known as ‘The Sundance Channel,’ the AMC-owned network has rebranded as SundanceTV, and continues to make a name for itself with cutting edge documentaries and off-the-radar world cinema. Here are a couple of exclusive titles they’re offering that you should look out for.

The Search For One-Eyed Jimmy (1994)

Written and directed by Sam Henry Kass, this off-kilter comedy involves a film student who returns to his old neighborhood to film a documentary about it. It boasts an all-star cast including Sam Rockwell, John Tuturro, Jennifer Beals, Steve Buscemi, and Samuel L. Jackson.

Real Genius (1985)

This criminally under-appreciated 80s comedy stars Val Kilmer as Chris Knight, a certified genius whose senior project involves a giant chemical laser and a lot of popcorn. Loaded with over-the-top hijinks and plenty of hilarious incidental moments, the film’s sunny setting makes it the perfect cinematic getaway from your snow-covered surroundings.

The Galapagos Affair: Satan Came To Eden (2013)

A critically acclaimed documentary about a group of European expatriates who resettled in the Galapagos islands in the 1930s before they started slowly disappearing. An intriguing real-life mystery that’s gone largely unknown to history, Cate Blanchett leads the film’s voice cast.

Netflix

As the godfather of all streaming services moves ever closer to branding its all-original content, Netflix is still home to some of the most entertaining content you can find online.

Captain America: Civil War (2016)

The third installment in the Captain America saga, this time pitting against his one-time ally Tony Stark as the world’s superheroes are torn over some new government-backed legislation that would neuter their power. It features not only the formal introduction of Spider-Man to the MCU, but sharp-eyed fans will notice the stair car from Arrested Development during the pivotal battle at the Leipzig/Halle airport.

Comedy Bang! Bang! (seasons one through five)

The fifth season of Scott Aukerman’s mock-talk show drew the series to a close earlier this month, and when that final season hits Netflix on December 28th, you can relive the saga in its entirety.

Hulu

Once known simply as ‘that TV thing,’ Hulu may have lost the Criterion Collection, but they’ve made up for it with a surprisingly diverse list of Hollywood blockbusters, as well as being a DVR for cord-cutters.

King Kong (1976)

American Horror Story mainstay Jessica Lange had her big-screen debut in this 1976 retooling of the story of King Kong. Co-starring Jeff Bridges, the film took a decidedly environmentalist turn (as was the style at the time), which seems to be reflected strongly in the upcoming reboot Kong: Skull Island set to hit theaters later this year.

The Mick (series premiere)

Kaitlin Olsen of It’s Always Sunny In Philadelphia fame heads up her own network series, The Mick, where she plays a woefully under-qualified nanny tasked with caring for her sister’s spoiled children while she flees the country to escape federal charges. Based on the previews, Fox’s midseason offering will highlight all of Olsen’s characteristics that makes Sweet Dee one of the most lovably shrill characters in TV history.

Amazon

Packaged with free two-day shipping, Amazon Prime’s video selection continues to expand, offering a variety of current and classic movies while they continue to produce their own unique, original content.

The Lobster (2016)

While it wasn’t in wide release until this year, The Lobster opened 2015′s Fantastic Fest, where it wowed audiences with it’s kitschy take on a futuristic dystopia. Normally full of swagger, Colin Farrell stars here as a soft-spoken, downtrodden man whose recently single, and forced to relocate to a type of internment camp dedicated to pairing off couples. If they don’t find love, they get transformed into the animal of their choice.

The Man In The High Castle (seasons one and two) 

Nazis running the U.S. government. I love nonfiction.

Starz

Available as both a premium cable channel as well as a stand-alone streaming service, Starz offers up a dynamite mix of original entertainment as well as some big-name blockbusters.

The Force Awakens (2015)

The film that reintroduced Star Wars to a new generation, director J.J. Abrams managed to appease older generations soiled by three uninspired prequels while continuing the story of the Skywalker family and their central role in an ongoing galactic civil war.

Ash Vs. The Evil Dead (seasons one and two)

Big, brash, and unbelievably bloody, Bruce Campbell resurrects his role as Ash Williams, everyones favorite S-Mart clerk as he continues to fight off the deadites at every possible turn. Hollywood legend Lee Majors joins the cast in the second season as Ash’s father, Brock.

Seeso

Closing in on its first year in existence, Seeso has dedicated strictly to comedy has started to gain attention for its offering of new and classic selections.

Harmonquest (season one) 

From the creator of the brilliant Community and the equally brilliant Rick And Morty comes a mix of animation, live action, and (somehow) improvisation that chronicles the adventures of a group of comedians as their role-playing campaigns.

Saturday Night Live (seasons one-forty-one)

For more than four decades, Lorne Michaels and his ever-changing group of ‘Not Ready for Prime Time Players’ have churned out topical sketch comedy week after week. Despite what the contrarians out there have to say, the show’s consistently more hit than miss, and now you can relive it all throughout the mire of the holiday season.

HBO Now

Once the premium cable giant offered up a standalone streaming service for those without cable subscriptions, HBO Now has become the go-to hub for binging of its massive backlog of superb original series, as well as some quality movies as well.

High Fidelity (2000)

Based on the British novel by Nick Hornby, John Cusack plays Rob, a music-obsessed record store owner who can’t seem to figure out how to be in a relationship. While the movie has endeared itself to everyone who can identify with Rob (roughly 85% of its audience), it’s also the movie that helped introduce Jack Black into the mainstream. You better hurry up and catch this one, as it’ll disappear from the roster on New Year’s Eve.

Westworld (season one)

It’s been evident for some time that HBO really, really wanted Westworld to pay off big time as it looks to plug a Game of Thrones-sized hole in its schedule in two short years. Given the enormity of online chatter, the endless fan theories, and constant speculation, it seems that the first season succeeded in roping in an audience, which was the largest ever for an HBO premiere season. You can take your time absorbing the mystery here, as the second season isn’t slated until sometime in 2018.

The post Make The Most Of Your Downtime With Our Holiday Streaming Guide appeared first on Glide Magazine.

In another cruel unexpected loss of 2016,  yet another musical icon and one of the most unique and distinguished voices, George Michael, has passed away. Ironically he died on Christmas Day due to suspected heart failure, but it was Wham’s take on “Last Christmas” that became a holiday favorite.

Michael – who was born Georgios Kyriacos Panayiotou - sold more than 100 million albums globally, earned numerous Grammy Awards, and recorded duets with Aretha Franklin, Ray Charles, Luciano Pavarotti and Elton John, among others during a career spanning almost four decades. His last album, Symphonica, was released in 2014.

In a statement, Michael’s publicist said: “It is with great sadness that we can confirm our beloved son, brother and friend George passed away peacefully at home over the Christmas period. The family would ask that their privacy be respected at this difficult and emotional time. There will be no further comment at this stage.”

Lets check out the classic video for “Careless Whisper” which features one of the most enduring saxophone riffs of all time…

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The hearts of all the little boys and girls who grew up with Star Wars on their brain collectively broke on December 23, as the news broke that beloved icon Carrie Fisher suffered a heart attack aboard her flight returning home from London. While some surely had hope Fisher would pull through in a holiday miracle, today she finally passed into the next life at the age of 60.

Fisher seemed destined to get into show business at an early age, as her parentage included the effervescent Debbie Reynolds (Singing in the Rain) and singer/actor Eddie Fisher (Bundle of Joy). Her parents split after four years of marriage when her father left Reynolds for her best friend Elizabeth Taylor, subsequently leading to the type of scandal he would never bounce back from.

Fisher spent much of her early life reading as much as she could get her hands on, eventually writing poetry and prose of her own while attending Beverly Hills High School. She never graduated as she landed a role in her mother’s production of Irene on Broadway. There would be a brief interlude where she attended theater school in London, though at the age of fifteen she was well on her way to stardom.

Her film debut came in Shampoo, starring Hollywood legend Warren Beatty. It was soon after the release of the film that she gained her role as Princess Leia, cementing a new idea of what a Princess could be.  Fisher’s portrayal of the feminist icon would be what catapulted her into stardom, leading to a party lifestyle that would inspire her novel Postcards from the Edge, later adapted into a film starring fellow superstars Meryl Streep and Shirley MacLaine.

Fisher continued to act in both large and small roles throughout the 80’s and 90’s frequently playing herself or someone like her, satirizing her fame and  showcasing a sense of humor that really defined Fisher in a way that kept her on a pedestal far and away from her famous counterparts. While her film roles will always be memorable, it was really her script work that defined her career. If you saw a movie from 1990-2005 (including pop culture favorites such as Hook, So I Married An Axe Murderer, The Out of Towners, and Star Wars Eps I-III)  there’s a good chance she worked on it.

Her latest work, autobiography The Princess Diarist recently revealed that Fisher had an affair with co-star Harrison Ford during filming of Star Wars Episode IV. Other famous beaus include Paul Simon and Dan Aykroyd. It was her relationship with talent agent Bryan Lourd that led to the birth of her daughter, actress Billie Catherine Lourd (Scream Queens).

There will no doubt be a giant Leia shaped hole in the universe with the passing of Carrie Fisher. While we can take solace in the immense talent she has left us in the form of her work, we will miss the woman who taught so many of us that it’s not only ok to be strong, smart, and loud, it’s also imperative in this world to be better. To want more and to work tirelessly to achieve goals and dreams that always seem to be hiding from us. Fisher’s star power was too big for this world, and now we must say goodbye as she joins the rest of our fallen idols in a galaxy far, far away.

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It’s been a rough year to say the least, but believe it or not some amazing music has been released. In the newest installment of Wannabe, artist Chris Prunckle looks back on his favorite albums of 2016 in his signature six-panel comic strip form. This is the second of two parts! You can check out part one HERE. Click on the image for full resolution (best viewed on desktop):

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Looking back, the 1970s were one of those moments of convergence that laid the foundations for our current society. As boomers came of age and the Gen Xers hit puberty, the forces of culture created a whirlpool of ideas and isms, good and bad, that set the stage for so much of what we, today, think of as standard. Like all standards, there was a time when they were the outliers.

It stands to reason that we’re currently amidst another of these cultural whirlpools right now. The boomers are nearing the end of their lives, the Gen Xers have become the establishment, and millennials are now leading the charge for change—regardless of what that change might eventually be. It’s difficult not to see correlations between then and now, as the seas begin to change and the old ways begin their death rages. Perhaps that why 20^th Century Women rings with so much resonance.

Writer/director Mike Mills captures all the angst of an era, distilling it down to a personal level to allow it to shine most clearly, and, in a way, providing us a light to get through our own troubled waters. It’s a movie about sea changes and big ideas, presented on a micro level for better clarity. Bold, beautiful, and stunning, 20^th Century Women feels like the perfect cap to the cinematic year.

Annette Bening stars as Dorothea, an aging single mom struggling to find footing in a world that’s changing while raising her son Jamie (Lucas Jade Zumann) absent any help from his father. Searching for help to mold him into a good man, Dorothea enlists the guidance of her tenants Abbie (Greta Gerwig) and William (Billy Crudup) and Jamie’s friend Julie (Elle Fanning) in order to teach him the ways of a world she no longer understands.

Bening, Gerwig, and Fanning are the titular women of 20^th Century Women, becoming focal points for the fluctuating stature of women on the cusp of the 80s. Dorothea, her eternal optimism a vestige of her generation, Abbie, a free-spirited artist and punk, and Julie, deep in Gen X nihilism, come to represent the changing tides of status quo as the generational shifts begin to hit the shores.

As a trio, the three shine as bright as any stars and carry the bulk of the film’s emotional weight. Bening seems a shoe-in for Oscar contingency, and longtime indie darling Gerwig has officially skyrocketed into the mainstream with her performance here. Their intense relatability as characters anchors the film, lending it an emotional power that’s equally enthralling and heartwarming.

Zumann, too, offers a relatable in to the story. His disaffected Jamie serves both as a stand in for the audience’s own adolescence and as a symbol of the changing of the guard. His world is not the same world his mother grew up in, and the waters he navigates are entirely uncharted, from a cultural stand point. In much the same way that millennials today and boomers can’t seem to find any common ground on which to stand, so too do Jamie and his mother.

It’s a perfect reflection of our times, and of the everchanging tides of generations. Mills’ heartfelt script underscores the generational strife of his day in a way that’s accessible to today’s audiences, and also reminds us that it’s rarely an insurmountable problem. The gaps between us may be distant, but the stepping stones that bridge us are always nearby. This is important to remember as we move forward into the 21^st century.

That’s the real beauty of 20^th Century Women. It serves as a reminder that times may change, but experiences stay the same. Filtered through the micro as it is, it magnifies the push-pull of generational change into the macro, creating a stunning look at cultural change that will resonate across generations.

20th Century Women is now playing in limited release and opens wide on January 20.

The post ’20th Century Women’ A Heartwarming Look at Generational Changes (FILM REVIEW) appeared first on Glide Magazine.

Only a day after the untimely death of daughter Carrie Fisher, we have lost pioneering ingénue Mary Frances “Debbie” Reynolds. The Hollywood idol suffered from a stroke after beginning plans for Fisher’s funeral with her son, Todd. She was 84.

Reynolds was born to Maxine and Raymond Frances Reynolds in El Paso, Texas. At the age of seven her family moved to California where Reynolds would win the Miss Burbank beauty contest at age sixteen. The pageant win led to a contract with Warner Bros where she was given the stage name “Debbie,” which she stuck with the rest of her life.

In the 50’s Reynolds began to shift her career into the musical sector as she gained fame for her song ‘Aba Dabba Honeymoon’ featured in Two Weeks With Love.She would go on to co-star in timeless classic, Singin’ in the Rain, giving an electric performance that many have attempted to emulate, yet no one has been able to match. During her film career Reynolds would earn a gold record, three top billboard hits, and release several hit records.

Reynolds married her first husband Eddie Fisher in 1955, leading to the birth of the late Carrie Fisher and her son, Todd Fisher. Though they had excellent chemistry in their co-starring film Bundle of Joy, Reynolds would later admit to not being a very passionate woman, an attribute she assumed led to the demise of all three of her marriages. The two divorced after four years of marriage after Fisher had an affair with Elizabeth Taylor, leading to a scandal that would hang above his head for the rest of his life.

In 1964 Reynolds was nominated for an Academy Award for her role as the titular character in The Unsinkable Molly Brown.Her talent only flourished from there. Reynolds worked in both film and television her entire career, taking time to lend her flair to the stage on and off Broadway. In 1973 Reynolds starred in the Broadway revival of Irene, leading to a short, but illustrious theatrical career.

Reynolds was an avid film memorabilia collector. She amassed a large collection that she displayed at her hotel in Las Vegas for a short amount of time before moving it over to a museum near the Kodak theater in Hollywood. After some unfortunate business transactions, Reynolds eventually auctioned off her collection, leaving her heartbroken. Though many of her business ventures failed, the Debbie Reynolds Dance Studio she founded is still currently in operation today.

While Reynolds and her daughter both spent almost their entire lives in the spotlight, they were vastly different. Reynolds was bred to be a Hollywood starlet, while Fisher would evolve into a renaissance woman, living with mental illness and working tirelessly to bringing all sorts of issues to the spotlight. The result of such differences would lead to many fights between the mother and daughter, but their relationship would only grow stronger as they got older.

Reynolds’ legacy will live on in film history alongside both her contemporaries and her daughter. There’s a staying power Reynolds has that will be unmatched as pop culture moves forward. As we mourn yet another idol lost to the oblivion that we’ve come to know as 2016, we can only look back at the work that has influenced us with a fond farewell and bitter tear.

The post R.I.P. Debbie Reynolds (1932-2016): Hollywood Royalty Dies Only A Day After Daughter Carrie Fisher appeared first on Glide Magazine.

The year wasn’t all bad for movies. For all the complaints you see on message boards across the internet, you’d think that Hollywood was completely incapable of producing anything worthwhile. While it might be true that sequels and comic book movies get an inordinate amount of play in today’s culture, the reality is so much deeper and richer than the collective mind of the internet would have you believe.

There’s no denying that this year featured a lot of bullshit, but that’s true of every year. As ever, you sometimes have to sift through a ton of mud before finding a nugget of gold, and this year provided audiences with plenty of riches if they desired to find them. While overall there was a lot to hate about the cinematic offerings of 2016, the gems far outweighed soot.

13^th

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Filmmaker Ava DuVernay takes an unflinching look at the history of institutionalized racism in America in this powerful documentary. DuVernay tells the history of America from the freeing of the slaves to the modern day to paint a picture of how laws and institutions were built around perpetuating the ideas of white superiority, and how that eventually evolved into the privatized prison industrial complex driving today’s criminal justice system. Shocking, heartbreaking, and eye opening, 13^th is one of the most important and moving documentaries of the decade, and should become required viewing for students of all ages.

Original review

Arrival

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One of the most beautiful and meaningful science fiction films in recent years, Arrival came at just the right moment for our culture and these times. Backed by a powerful performance from Amy Adams, director Denis Villeneuve and screenwriter Eric Heisserer crafted an inspiring look at the power of communication to overcome boundaries and obstacles. Now—perhaps more than ever—it’s important that remember to talk to one another and gain understanding into each other’s perspectives and mind frames. Even our biggest enemies can be made friends if we take a little time to talk.

Original review

Fences

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You’d be hard pressed to find a movie with better performances than you’ll find in Fences. That shouldn’t be surprising with Denzel Washington and Viola Davis anchoring the cast, but even they—two of the best, most accomplished actors of our day—achieve stunning new heights in this adaptation of August Wilson’s play. Set in 1950s Pittsburgh, Fences is a stunning portrayal of the hopes, fears, and dreams of an African American family as they struggle to hold themselves together. A richly developed slice of humanity, Fences is one of the most powerful films you’ll see in any year.

Original review

Green Room

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Like the music of punk itself, Green Room burrows into your soul and takes up residence, altering you in ways you can’t rightly explain—ways you might not fully appreciate—but for which you are eternally grateful. Writer/director Jeremy Saulnier’s 2013’s magnificent Blue Ruin proved himself a master of the modern thriller, crafting a story full of taut suspense and hair raising twists that should set a new standard for the genre. Then there’s Anton Yelchin, who gives a remarkable performance in what would unfortunately become one of his last roles before his horrific death earlier this year. He holds his own against fellow Star Trek alum Patrick Stewart, who sheds his kindly grandpa façade to become one of the most terrifying horror villains in recent memory.

Original review

Hell or High Water

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A morality play for these troubled times, Hell or High Water is a standout among standouts, gently capturing the political and economic angst of our era and distilling it into a story that’s timeless and beautiful. Chris Pine and Ben Foster outdo themselves as a pair of outlaw brothers who hatch a scheme of robbery and revenge against the bank that threatens their family’s land in a tale that highlights the grey in an otherwise black and white world. Taylor Sheridan’s richly nuanced script is a masterwork of neo-noir that deftly plays to the sensibilities of whomever watches it, leading them to the same conclusions regardless of whatever personal isms they viewer brings with them. Part spaghetti western, part good ol’ fashioned heist movie, and part critique of modern economics, Hell or High Water is an instant classic.

Original review

Jackie

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Grief has rarely been so poetic as it is in Pablo Larrain’s heartbreaking look at the former first lady in the day’s following her husband’s assassination. Natalie Portman doesn’t play Jackie Kennedy so much as she embodies her, body, mind, and spirit. In a way, it almost feels like the role she was born to play, harnessing all her powers as an actress and funneling the total of her experience into this moment of her career. The result is a film that explores both grief and the way myth affects persona (and vice versa) to create a biopic unlike anything you’ve ever seen before.

Original review

Moonlight

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No less than a work of art, Moonlight is this year’s most beautiful film. A triptych of tales, each showcasing the same person as he grows from boy to man, Moonlight is a film like no other, and features one of the best ensembles in recent memory. While no one actor shines bright than the others, it’s hard to deny that Mahershala Ali’s performance is star making in intensity, adding a hefty weight to his growing career. So, too, with writer/director Barry Jenkins, adapting Tarell Alvin McCraney’s unproduced play, who manages to craft one of the most intensely moving depictions of humanity ever committed to film.

Original review

The Nice Guys

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Remember when movies were fun? Shane Black remembers. As a director, Black always strives to walk the fine line between artistry and commercial, and does so with such acumen that the line between the two is so blurred it’s easy to forget it exists at all. In this 70s-throwback romp, Black enlists the unlikely comedic duo of Ryan Gosling and Russell Crowe for a film that’s equal parts buddy comedy and noir, deftly moving between both elements in an engrossing mystery. With whip-smart dialogue and genius plotting, Black once again raises the bar for the genre and created a movie for the ages.

Original review

Nocturnal Animals

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It should come as no surprise that Amy Adams is the center of two of this year’s best movies. Though more people will no doubt remember Arrival over Nocturnal Animals, her performance in Tom Ford’s emotionally devastating masterpiece is more intense, more nuanced, and more engrossing than her other knockout of 2016. No small feat, to be sure, but it helps to have a writer and director like Ford at the helm. His story within a story framework, adapted from the book Tony and Susan by Austin Wright, allows varying narratives to bleed into one another, creating a beautiful portrait of post-relationship angst that David Lynch would be envious of.

Original review

The Witch

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No film has managed to capture the true essence of horror—which exists on the level of atmosphere and tone—more than The Witch. This stunning tale of a puritan family ripping itself apart from paranoia is one of the most unsettling works of cinema produced in years, or even decades. Backed by a star making performance from Anya Taylor-Joy, writer/director Robert Eggers mines the lore of New England and delivers a stunning work of horror that drives deep into your subconscious to lie in wait and fester in your nightmares. In a just and righteous world, The Witch will become the new standard by which horror movies are judged.

Original review

Honorable Mentions:

10 Cloverfield Lane

20th Century Women

Don’t Breathe

Hail, Caesar!

Pete’s Dragon

The post The Best Movies of 2016 appeared first on Glide Magazine.