There is no better way to reproduce a Van Gogh, I believe, than under the influence of alcohol, and The Paint Mixer, a paint and wine studio that recently opened a second location in Sugar House, provides just this stimulating opportunity.
It wasn’t utterly packed—just full. Cat Power draws an interestingly eclectic crowd: professors, obligatory hippies, hipsters and maybe a vegan–straight edge kid, too. After the release of her electronica album, Sun, it seemed that there was a yearning for the older, more classic styling of Chan Marshall, and there was no better way to realize that desire than an intimate, seated setting where she would perform solo.
From the get-go, the small cluster of people to my right, all huddled beside the large speaker hanging from the ceiling, are in their thrall. Two kids with jet black hair are laboring over a sharpie mural on the plywood wall, only stopping intermittently to do something that resembles a dance, but is more likely some ancient satanic ritual, their possessed bodies twisting along with those sweet bass lines.
Lissie took a different approach and recorded this album with her band, rather than as a solo artist. Lissie originally played with studio musicians, but she says, “I have really honed a sound together through touring the last few years, so it was important to me and just natural that they be on Back to Forever.” It’s not always easy to bring the same attitude to an album that exists during a live performance, but “… the attitude and rock we bring live is present on this album” she says.
Bill Callahan seems like the minimalist indie songwriter par excellence, letting his lyrics, often more spoken than sung, work their dry yet poetic magic, but on stage with a full band, you realize that they are capable of a much more deep and uncanny array of tricks. They surprised from the get-go, opening with a cover of the Velvet Underground's “White Light/White Heat,” in tribute of the recently departed Lou Reed. Callahan is perhaps the only singer who could deliver the lines more dryly than Reed.
"The character I play is very innocent, but also very heroic and powerful, and teaches people how to get outside of themselves a little bit and look at the world in a different light—to challenge them to see the world with a little bit more beauty and reverence, but definitely, the drumming drew me to the show."
Following up on their award-winning 2011 film, All.I.Can, Sherpas Cinema has put together a visceral ride that keeps the audience gasping to catch their breath.
Julia Child said, "People who love to eat are always the best people," and I agree. We were proven correct at The Salt Lake Culinary Center’s Meatless Monday:Vegetarian Basics class.
On Wednesday, November 20, Brewvies hosted a sold-out screening of Brian Olliver’s canyoneering documentary, Gorging. Aside from being a visual feast, Gorging provides a thrilling glimpse into this exciting and somewhat unknown sport.
From where I’m standing, Julianna Barwick is a perfect silhouette. A projection of a slow moving video of white forests and breaking ocean waves frames her figure in the background, and the 50 or so people in the audience are in a trance, strewn out across the floor, some lying, some sitting, some standing, as her voice builds and reaches crescendo like a gothic one-woman choir.