I’ve been a fan of Gold Dime‘s music ever since I came across them playing at the 2014 edition of Basilica Soundscape. Do you enjoy your music intense and rhythmic yet pushing towards transcendent moments of bliss? Well then. The group’s third album, No More Blue Skies, arrived on the scene last month, and it pulls off the impressive feat of retaining the group’s core sound while also finding intriguing ways to expand it. I spoke with Gold Dime founder Andrya Ambro to learn more about the album — and the band’s recent tour.
Afternoon Bites: Robert Lopez, Revisiting Sylvia Plath, Primo!, Sadie Hartmann’s Bookshelves, and More
In our afternoon reading: new writing by Robert Lopez, thoughts on Primo!’s new album, and more.
Morning Bites: Victor LaValle and Marlon James, Sylvia Plath’s Lost Novels, Jamila Woods’s New Album, Michael Chapman, and More
In our morning reading: Victor LaValle and Marlon James in conversation, a review of Kelby Losack’s new novel, and more.
Afternoon Bites: Sarah Louise, Sylvia Plath Revisited, Olga Tokarczuk Fiction, and More
In our afternoon reading: thoughts on Sarah Louise’s new album, fiction from Olga Tokarczuk and Yūko Tsushima, and more.
Afternoon Bites: Charlie Jane Anders, Gabino Iglesias Interviewed, Brad Phillips, Steve Gunn’s Latest, and More
In our afternoon reading: new writing from Charlie Jane Anders, thoughts on books by Brad Phillips and Sylvia Plath, and more.
Morning Bites: Gabe Habash’s Latest, Catherynne Valente Interviewed, Melissa Broder, Fictional Superheroes, and More
In our morning reading: an excerpt from Gabe Habash’s novel, poetry from Melissa Broder, and much more.
Morning Bites: Sofia Samatar, Claudia Rankine’s Editor on “Citizen,” Sleater-Kinney’s Latest, and More
In our morning reading: new writing from Sofia Samatar, an editorial look at Claudia Rankine’s Citizen, Allen Ginsberg talks LSD, Lindsay Zoladz on Sleater-Kinney, and more.
The Reading Life: But Most People Are The Same
My dad once pointed out an inconsequential part of Charade, the Stanley Donen film. It’s a piece of interstitial dialogue between two characters we never see. George Kennedy, with a hook for a hand, has ransacked Audrey Hepburn’s Parisian hotel room, and Cary Grant goes out the window to find him. Grant passes a neighboring room’s window, and a woman screams.