Journalist Tom Doyle had previously interviewed Paul McCartney multiple times before turning his focus toward the 1970s, and their level of familiarity led McCartney to revisit the period with a surprising level of candor.

High Life is the second album from Eno • Hyde—a collaboration between Karl Hyde (of Underworld) and Brian Eno (of everything)—in as many months. Its predecessor, Someday World, was something of a surprise coming from them, considering its preponderance of pop melodies and forms.

For a comic that sounds like it’s either a one-note joke or cashing in on a tired tween trend, Pinocchio, Vampire Slayer, written by Van Jensen and illustrated by Dusty Higgins, is a remarkable story about love, sacrifice, and really bad action movie one-liners.

From one angle, Begin Again can be viewed as a meta-sequel to writer-director John Carney’s earlier music film, Once.

Donovan Blanc has the sound and feel of a lost psych-folk solo platter, the sort of thing hardcore vinyl-heads would buy for a cool $200 in NM condition at a record fair (until it was inevitably reissued by some Italian label on 180-gram white plastic).

Despite modern music’s determination to popularize any instrument not traditionally used in pop (See: Beirut’s trumpet, Owen Pallett’s violin, or Joanna Newsom’s harp), the trombone hasn’t seen much resurgence.

It is impossible to see any member of the Wainwright clan in concert (be it Rufus, Martha, Lucy, or Loudon) without being drawn into their family dynamics.

Cody ChesnuTT and I may hail from the same city, but I admit I knew very little about the musician when I wandered into his show on Saturday night.

The film will probably be tiresomely described as “Groundhog Day meets American Pie”, though this only slightly eclipses the latter for the sheer fact that it seems kind of sincere.