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Recent Articles By Annie Zaleski

National Features

  • Broward-Palm Beach New Times
    Last Step to Redemption

    Drug counselor Richard Entrekin swam a little too easily in a sea of sharks.

    By Amy Guthrie
  • Village Voice
    The Cro-Mag Diaries

    Remembering the brutal life and times of John "Bloodclot" Joseph, New York hardcore icon.

    By Rob Harvilla
  • Miami New Times
    Class Warfare

    At a Florida school, kids threaten teachers, whose bosses look the other way.

    By Francisco Alvarado
  • SF Weekly
    Party Crashers

    If you think Ralph Nader won't screw the Democrats again, you're not paying attention.

    By John Geluardi

The rural routes Kathleen Edwards explored on her 2003 debut Failer were drastically different than the dusty scenes explored by like-minded souls Lucinda Williams or Tift Merritt. Colored by the harsh winters and customs (read: hockey) of Edwards' native Ontario, Canada, her tales of spunky women, no-good men and broken relationships possessed a particularly intoxicating sense of isolation and resignation. That universal desolation has always resulted in Edwards' best work; "Copied Keys," from 2005's Back to Me, describes the sacrifices made when a person moves a great distance for love. Her gorgeous new album Asking for Flowers — like previous releases, a gentle amalgamation of pedal-steel twang, jaunty folk-pop and sharp lyrical ruminations — resonates most on its title track. Mellow Hammond organ and Neil Young-esque guitar hurricanes collide, mirroring the narrator's distress at the realities of a crumbling relationship.

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