Part music review and part road trip story about the singer-songwriter John R. Miller, Sam Farahmand provides the portrait of an artist finding sobriety and a stronger sense of self on his sophomore album.
“death-lot is telling us our strategies will lose in the long term, isn’t it? This sounds nihilistic…” Clara B. Jones with a review-in-dialogue of new work by Andy Martrich.
“Though the novel is more farcical than satirical, Nutt channels some of literature’s greatest satirists, from the rhetorical elusiveness of Nikolai Gogol’s Dead Souls to Thomas Pynchon’s zany subplots to George Saunders’ big-hearted generosity.” Connor Goodwin reviews.
Foundational Atlanta singer-songwriter K. Michelle Dubois returns with her third solo album, Harness, engaging new terrain between the underground and mainstream pop, a la the Breeders. Randal O’Wain reviews.
Conceptions of the real, unreal, and hyperreal converge in Tim Jones-Yelvington’s polyvocal hybrid novel, forming a continuously shifting “kaleidoscope of cultural tropes and myths of queer identity.” Meghan Lamb reviews.
L.A.-based conceptualist Allen Ruppersberg’s Intellectual Property 1968-2018 retrospective, now open at the Hammer Museum of UCLA, is a revelation of constraint, automatism, and obsession. Joseph Houlihan reviews.
“One person’s hell is another person’s storyline.” The latest installment of Jeff T. Johnson’s Book Album Book tackles Hermit and the Recluse’s Orpheus vs the Sirens.
Roque Larraquy’s Comemadre joins the uncanny, self-aware tradition of Kafka, Mann, Walser, Artaud, with a dash of the Three Stooges. Joseph Houlihan reviews.