Blogs
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    06:00PM 03/07/08
  • R.E.M. Accelerate: An Advance Review and Song-by-Song Analysis of the Band's New Album
    04:06AM 03/08/08
  • Your Weekly St. Louis Food Blog Digest
    03:45PM 03/07/08
  • This Is Hawkwind -- Do Not Panic
    06:08PM 11/09/07
Recent Articles
Related Articles

Recent Articles By Roy Kasten

  • The Campbell Brothers
    8 p.m. Friday, February 15 and 11 a.m. Saturday, February 16. Edison Theatre, 6445 Forsyth Boulevard
  • Nina Nastasia
    8:30 p.m. Saturday, February 9. The Bluebird, 2706 Olive Street.
  • Richard Thompson
    8 p.m. Monday, February 11. The Pageant, 6161 Delmar Boulevard
  • Parachute Musical
    9 p.m. Friday, February 1. The Bluebird, 2706 Olive Street.
  • Giant Bear
    9 p.m. Wednesday, February 6. Off Broadway, 3509 Lemp Avenue.

National Features

  • Houston Press
    "It Was Like an Armageddon Movie"

    For days after Hurricane Rita, a Texas prison was hell on earth.

    By Chris Vogel
  • SF Weekly
    The Candidate

    Our columnist knows Ralph Nader's running mate all too well.

    By Matt Smith
  • The Pitch
    How Not To Be a Rap Star

    First of all, lay off the Ecstasy.

    By Nadia Pflaum
  • Village Voice
    Project Runaway

    What becomes a gossip columnist most?

    By Michael Musto

If you believe the European press, the Portland alt-country posse Richmond Fontaine is the second coming of the Greatest Rock & Roll Band in the World♥ — when to American ears the group's often sounded like the umpteenth coming of Uncle Tupelo. On its seventh album, however, Richmond Fontaine sounds like the return of the undeparted Calexico. Recorded in Tucson, produced by JD Foster, and featuring Calexico members Joey Burns and Jacob Valenzuela, Thirteen Cities eschews all urbanity for the desert's sonic spirit: distant pedal steel, desiccated acoustic guitars, and muted trumpets and feedback in un-spelunked caverns. Singer and writer Willy Vlautin bumps into luckless drifters and tin-pot despots of the ghost-town underclass, but tells their stories with detailed empathy and a voice as dry as the bottom of a killed tequila bottle. "I fucked up again/I barely know where I am," he sings over a creaking piano. "I don't even have the bus fare home." To call Vlautin's characters hopeless is to miss the point. They're always moving, even if from one nowhere to another, and they take in much of the American dream as it really feels for the perpetually impoverished. Realism alone is their payback, if not their redemption.

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