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Arts & Living

Sigur Rós gently drones on to perfect the art of noise

I’d usually tell you within the first few lines, in fact. But I’m a bit confused as to how to start, because this particular album doesn’t so much have a name. I speak, of course, however obliquely, of the new Sigur Rós album. Most easily identified by

THE LIST

SELECT FLICKS Cinemark at Hampshire Mall (587-4233) “8 Mile” is reviewed in this issue. “Abandon” is the latest shark from Hollywood’s teen thriller pool. This time around, “Dawson’s Creek” darling Katie Holmes stars as Catherine Burke, a co-ed trying to wrap up a stressful year-completing

Solid writing, acting elevates 'City'

Two lovers in 2011 A.D., Bastian (Tim Hahn ’06) and Renee (Hilary Lewis ’06), prepare to protect their unborn child, the prophesized savior of the human world. The only glitch is that Bastian has to train in an alternate dimension called Pastel City, where time has no measure. He

Angie Han

Sound familiar? “8 Mile” is based on Eminem’s own life. The movie centers on Rabbit as he struggles to fulfill his dreams, while things fall apart around him. The key players in his home life are his unemployed trailer-trash mother Stephanie (Kim Basinger), his innocent little sister Lily

Jazz trumpeter Jensen thrills Marsh crowd

Jensen was supported by the other two members of her trio, bassist Fraser Hollis and drummer John Wikan. In addition to this formidable unit, the group featured two very special guests, Professor of Music Dana Gooley (piano) and Director of Jazz Studies Bruce Diehl (alto and tenor sax). Hailing from

Palahniuk's dark "Lullaby"

I had expected the style of “Lullaby” to be similar to the movie “Fight Club.” For better or for worse, I wasn’t much surprised. The premise of “Lullaby” is very different from that of “Fight Club,” but the style is similar. Palahniuk’s work is dark, disturbing and thought-

A perfect fit: Mann charms at the Calvin

Delivering a highly visual (owing to complex, polka-dotted lighting schemes, interesting wardrobes and the visible facial expressions afforded by the intimacy of a small venue) and exceptionally witty performance in general, Mann’s tongue-in-cheek humor and dry vocal stylings (as expressive in their monotone as they are